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THE  MACOMBER  COLLECTION 


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HINESE  POTTERY 


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MUSEUM  OP  PINE  ARTS 
BOSTON 


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Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/catalogueofmacomOOgetz 


CATALOGUE 

OF 

THE  MACOMBER  COLLECTION 


CHINESE  POTTERY 

BY 

JOHN  GETZ 


BOSTON  : MDCCCCIX 


Although  Chinese  porcelain  has  for  some  three  cen- 
turies excited  the  interest  and  admiration  of  Western 
collectors,  little  attention  has  been  paid  to  the  pottery 
of  China.  The  present  catalogue  describes  an  impor- 
tant collection  of  Chinese  pottery,  which  has  been  loaned 
to  the  Museum  by  Mr.  Frank  Gair  Macomber;  Mr. 
Macomber  has  also  met  the  expense  of  preparing  this 
catalogue.  Mr.  Getz,  who  has  compiled  the  catalogue, 
has  been  known  for  many  years  as  a student  of  Orien- 
tal pottery  and  porcelain.  As  the  subject  has  received 
but  little  attention  outside  of  China,  it  is  of  course  not 
to  be  expected  that  a discussion  like  the  present  will  be 
free  from  error.  It  is  published  in  the  confident  hope 
that  it  will  prove  useful  to  students  of  the  collection 
and  will  create  a more  intelligent  public  interest  in  the 
subject. 

ARTHUR  FAIRBANKS, 
Director  of  the  Museum, 


March,  1909. 


W-S§0  ^ 


&■' 


■-■  »J 


PREFACE 


The  Macomber  collection  of  ancient  Chinese  and 
Korean  pottery  is  exhibited  as  presenting  an  interesting 
phase  of  Eastern  ceramic  art,  in  its  historical,  intel- 
lectual, and  technical  development. 

In  the  several  groups  of  glazed  pottery,  well  identified 
and  representative  types  are  shown  in  such  abundance 
that  they  may  be  said  fairly  to  cover  the  history  of 
the  potter’s  art  during  those  dynasties  which  are  held 
in  particular  esteem.  These  monochrome  glazed  pot- 
teries or  vitrified  stonewares  of  the  Middle  Kingdom, 
as  at  present  exhibited,  are  quite  distinct  from  porce- 
lains. They  offer  an  excellent  opportunity  for  the  study 
of  special  aesthetic  features  pertaining  to  this  fictile  art, 
which,  except  to  a few  ardent  searchers  after  the  rare 
and  the  beautiful,  have  until  recent  years  remained 
least  known  in  Western  collections. 

With  regard  to  pottery,  it  is  evident  that  the  Chinese 
artists,  while  thorough  masters  of  the  superior  kaolin 
at  their  command,  have  for  many  centuries  deliberately 
chosen  to  essay  combinations  of  crushed  gray  felspathic 
stone  and  heterogeneous  materials  in  preference  to  pure 
white  kaolin  and  the  felspath  pe’tun,  and  have  by  this 
means  achieved  superlative  effects,  especially  in  their 
monochromes  and  variegated  glazing. 

Although  ceramics  is  a secondary  art,  the  annals  of 
pottery  making  in  China  are,  with  the  Middle  Kingdom 


2 


PREFACE 


more  than  elsewhere,  a history  of  art  itself,  and  as  we 
study  its  early  progress  during  remote  times  we  are 
enabled  to  penetrate  to  some  extent  the  mysteries  of 
Celestial  culture  in  this  ancient  terra  incognita.  A large 
nation  like  China,  remaining  until  very  recent  years  so 
entirely  exclusive  of  the  Western  world,  is  both  unique 
and  interesting,  in  that  it  developed  its  own  type  of 
art  as  it  did  its  caligraphy  and  civilization,  largely  per- 
haps as  a consequence  of  its  geographical  isolation. 

In  the  compilation  of  this  catalogue,  it  has  been 
deemed  desirable  to  join  a fev/  brief  notes  on  glazed 
pottery,  together  with  an  outline  of  its  early  history,  in 
such  manner  as  would  tend  to  bring  the  subject  of  this 
Eastern  art  accurately  before  the  general  visitor  to  the 
Museum  and  the  student  alike.  The  text  is  supple- 
mented by  a number  of  plates  in  half-tone,  illustrating 
typical  specimens  in  the  collection,  which  have  been 
classified  and  grouped  according  to  the  most  recent 
research.  Each  group  is  prefixed  by  a brief  account  of 
its  main  characteristics,  or  special  qualities.  Chinese 
names  or  dates  have  been  harmonized  so  far  as  practi- 
cable, with  the  later  and  larger  works  treating  of 
ceramics ; especially  such  as  are  based  on  native 
authorities,  or  reliable  contemporary  records. 

J.  G. 


HISTORICAL  SKETCH 


According  to  Chinese  chronological  records,  the 
history  of  ceramics  extends  far  back  to  a legendary 
epoch.  Reliable  history  may  be  said  not  to  extend 
further  than  the  second  millennium  before  Christ,  and 
such  knowledge  of  this  period  as  is  possessed  by  the 
Chinese  is  due  largely  to  Confucius  and  Mencius,  who, 
with  great  labor  collected  for  posterity  all  that  could  be 
gathered  in  regard  to  the  antiquity  of  their  country. 
The  former  of  these  two  great  philosophers  especially 
gained  much  of  his  data  from  ancient  bamboo  slips, 
upon  which  he  found  marked  the  legendary  or  historical 
events  of  remote  ages.  These  were  compiled  by  Con- 
fucius and  published  in  a classical  work  called  ‘‘Shu- 
ch’ing”  (Shu-king)  or  ‘‘Ancient  Book  of  History,"' 
which  is  the  source  of  much  in  the  following  pages. 

Following  the  annals  of  Chinese  ceramic  art  from  the 
earliest  times  of  which  we  have  native  historical  testi- 
mony, we  reach  the  semi-legendary  epoch  of  the  Wu  Ti, 
or  Five  Sovereigns  (B.  C.  2638  ?-2205  It  may  be  con- 
ceded that  the  potter’s  wheel  was  known  to  several  great 
nations  of  antiquity,  including  the  Egyptians,  probably 
twenty-five  centuries  before  Christ.  The  Chinese  date 
the  contrivance  in  the  same  remote  era ; their  literature 
ascribes  the  invention  of  the  wheel  to  a potter,  stated 
to  have  been  attached  to  the  court  of  the  mythical  em- 
peror Huang-ti  (B.  C.  2638  ?-2556  i) — the  first  and  most 

3 


4 


CHINESE  POTTERY 


prominent  of  the  ‘‘Five  Sovereigns’’  mentioned  above  — 
whose  capital  was,  it  is  assumed,  somewhere  near  the 
present  Hsi-an  fu  in  Shensi  province.  It  is  also  re- 
corded that  this  sovereign  first  taught  his  people  the  art 
of  kneading  clay  and  forming  it  into  sun-dried  vessels, 
— a record  which  appears  to  be  the  earliest  concerning 
pottery  in  China.  Passing  over  the  less  notable  rulers, 
we  reach  the  Emperor  Shun,  the  last  of  the  so-called 
Five  Sovereigns  (B.  C.  2295-2205),  who  worked  as  a 
potter  in  his  early  years;  later  he  was  called  to  rule 
conjointly  with  his  patron,  the  Emperor  Yao,  whom  he 
succeeded. 

When  Shun  died,  he  was  succeeded  by  his  able  minis- 
ter, the  illustrious  Yii,  who  established  the  first  Chinese 
dynasty  (Hsia  dynasty,  B.  C.  2205-1766).  It  is  re- 
corded that  Emperor  Yii  had  nine  tripods  cast  in  copper 
collected  from  his  nine  provinces,  to  commemorate  his 
labor  of  nine  years  in  subduing  great  floods.  These 
objects  were  treasured  as  the  tutelary  guardians  of  the 
empire  for  nearly  2000  years  and  doubtless  often  served 
as  models  for  the  potters  of  later  periods. 

The  Hsia  dynasty  was  followed  by  the  Shang  dynasty 
(B.  C.  1766-1122).  Confucius  especially  mentions  some 
of  the  ministers  of  this  era  who  made  great  efforts 
to  collect  antiquities,  and  whatever  was  rare  or  valuable. 
This  dynasty  was  especially  a period  of  bronze,^  and  it  is 
probable  that  many  of  the  vessels  thus  collected  served 
as  models  for  the  pottery  of  later  dynasties. 

The  Chou  dynasty  (B.  C.  1 122-255),  founded  by  the 

^ In  those  remote  times  the  custom  was  for  the  emperor,  when  worship- 
ing, to  use  nine  vessels,  a noble  seven,  a minister  of  state  five,  and  the 
literati  three.  These  were  usually  of  bronze. 


HISTORICAL  SKETCH 


5 


Emperor  Wu  Wang  C^Warring  Prince’’)?  is  memorable 
chiefly  as  the  feudal  period.  The  ancient  records  of 
this  era  give  an  account  of  bronze  casting  and  of  jade 
carving,  of  which  the  latter  was  widely  practiced.  It  is 
also  evident  from  the  meager  accounts  that  ceramic 
art  did  not  progress  until  this  time.  The  Emperor 
Wu  Wang  appointed  as  director  of  pottery  a descend- 
ant of  the  Emperor  Shun,  whom  he  particularly  sought, 
owing  to  the  great  fame  of  his  progenitor. 

During  the  Ch’in  dynasty  (B.  C.  221-206)  which 
followed  ^ scant  attention  was  paid  to  ceramic 
art. 

HAN  DYNASTY,  B.  C.  206-220  A.  D. 

Beyond  what  is  recorded  in  Chinese  literature 
concerning  ceramic  art,  very  little  is  known  of  Chinese 
pottery  prior  to  the  Han  dynasty.  Native  authors 
describe  the  ceramic  products  of  remote  epochs  freely, 
but  the  objects,  whether  in  stoneware  or  porcelain,  do 
not  exist.  Within  recent  years,  however,  Han  exam- 
ples in’  pottery,  such  as  are  now  exhibited  in  this  col- 
lection, have  been  discovered  in  the  northern  provinces 
of  China,  and  especially  near  Peking.  For  the  most 
part  they  have  come  from  burial  grounds,  as  is  indicated 
by  the  silvery  incrustations  and  iridescence  acquired 
from  age  by  the  vitreous  green  glazing,  together  with  an 
exfoliation  due  to  action  of  the  soil.  Native  and  other 

^ The  State  of  Ch’in,  which  corresponded  to  the  present  province  of 
Shensi,  came  so  prominently  to  the  front  at  this  period  that  its  name  reached 
Persia,  Arabia,  and  even  Rome  (especially  through  the  overland  traffic  with 
India).  In  all  probability  ''Ch’in”  is  the  origin  of  the  Western  name  of 
China. 


6 


CHINESE  POTTERY 


experts  are  supported  in  attributing  these  objects  to  this 
dynasty  by  the  fact  that  occasionally  such  specimens 
have  been  found  bearing  an  incised  Han  date  mark. 

The  vases  and  covered  vessels  referred  to  clearly  show 
that,  even  to  the  grotesque  or  archaic  molded  orna- 
mentation, they  have  been  inspired  by,  or  copied  from, 
more  remote  bronze  models.  The  pottery  paste  is  usu- 
ally dark  buff-toned,  although  in  some  objects  ascribed 
to  this  epoch  the  body  shows  a terra-cotta  color  of 
varying  texture  and  hardness;  all  are  essentially  red- 
dish clay  pottery  coated  with  green  enamel  glazing,^ 
more  or  less  clouded,  and  approaching  in  tint  the  rind 
of  cucumbers  or  the  color  of  malachite,  with  iridescent 
coating. 

WEI  DYNASTY,  A.  D.  221-264 

The  close  of  the  Han  dynasty  was  followed  by  a period 
of  disunion,  and  the  establishment  of  the  “Three  King- 
doms,’’ — one  of  the  most  romantic  epochs  of  China,  — 
following  which  the  King  of  Wei  established  the  brief 
dynasty  named  after  his  kingdom.  Mention  is  made  of 
two  factories  as  existing  during  this  epoch,  and  these  are 
among  the  earliest  known.  One  kiln  is  said  to  have 
been  situated  at  Lo-yang,  the  capital  of  this  and  the 
preceding  Eastern  Han  dynasty,  in  modern  Honan  prov- 
ince; the  second  kiln  was  at  Si-an-fu,  in  the  province 

^ While  the  date  of  the  introduction  of  enameling  or  glazing  is  a moot 
question,  in  China  it  goes  back  at  least  a century  or  two  before  our  era,  as 
is  indicated  by  the  examples  of  the  Han  dynasty.  The  Han  pottery  is  the 
earliest  glazed  ware  so  far  discovered  in  China,  notwithstanding  the  fact  that 
Chinese  have  asserted  that  porcelain  was  invented  during  this  remote  period. 


HISTORICAL  SKETCH 


7 


of  Shensi.  Although  no  special  mention  of  color  is 
made,  it  may  be  assumed  that  this  pottery  was  glazed 
in  green  and  analogous  to  the  examples  of  the  preced- 
ing dynasty.  It  is  stated  that  all  the  vases  of  these  kilns 
were  destined  for  the  emperor’s  use. 

WESTERN  AND  EASTERN  CHIN  DYNASTIES, 
A.  D.  265-419 

With  the  division  of  the  empire  between  the  Tartars 
in  the  North,  and  the  Chinese  in  the  South,  mention  is 
made  under  the  Eastern  Chin  dynasty  (A.  D.  323-419) 
of  pottery  called  “Tung-ngeu  t’ao,”  that  was  produced 
at  Wen-chou-fu  in  the  province  now  known  as  Cheh- 
kiang.  The  native  records  vary  between  green  and 
blue  in  describing  its  color,  but  agree  that  it  was  bril- 
liant.^ Its  real  color  may  remain  conjectural;  if  the 
glaze  was  not  green  like  that  of  the  Han  pottery  it  may 
belong  to  the  celadon  variety.  At  the  close  of  this  dy- 
nasty, with  the  different  states  fighting  for  supremacy, 
all  industries  including  ceramics  were  neglected. 

SUI  DYNASTY,  A.  D.  581-617 

This  brief  dynasty  was  established  by  Yan  Chien  (a 
former  general  under  the  Northern  Chou),  who,  having 
usurped  the  throne  with  the  title  of  Wen  Ti,  gave  the 
name  of  Sui  to  his  dynasty  and  located  the  capital  at 
Ch’ang-nan,  Shensi  province.  Tradition  records  a spe- 
cies of  green  glazed  pottery  which  was  famed  as  ‘‘Lou- 

^ Referring  to  this  dynasty  (also  called  Ts’in)  a treatise  on  tea  states 
that  the  best  vessels  from  which  to  drink  tea  were  shallow  and  green,  and 
esteemed  for  their  brilliancy. 


8 


CHINESE  POTTERY 


tzii’’  (Lu-tzii),  and  produced  by  Ho  Chou  (known  also 
as  Ho  Kuei-lin),  who  endeavored  to  imitate  green 
opaque  glass  (liu-li),  the  secret  or  composition  of  which 
had  been  lost  since  its  introduction  from  the  Indo- 
Scythian  Kingdom  two  centuries  earlier  (about  A.  D. 
424-454).  It  is  suggested  by  some  chroniclers  that  this 
pottery  known  as  “Lu-tzu"’  was  the  first  celadon,  later 
termed  chhng-tz’u  (green  ware). 

Ta’o  Yii  was  another  expert  ceramist  during  this 
period;  his  name,  Ta’o  Yii,  signifying  ‘‘pottery  jade,^^ 
was  made  famous  by  his  work;  he  was  a native  of 
Fou-liang,^  a district  near  Ch’ang-nan,  the  capital. 
Chinese  authorities  refer  to  this  product  as  a sort  of 
stoneware,  green  glazed  and  “as  brilliant  as  jade,”  a 
stone  which  when  cut  and  polished  is  to  a native  the 
ne  plus  ultra  of  valuable  substances.  These  objects 
made  by  Ta’o  Yii  were  known  later  as  “vases  of  arti- 
ficial jade”  (chia-yii-ki).  When  offered  to  the  emperor 
as  tribute  they  added  greatly  to  the  reputation  of  the 
kilns  at  Ch’ang-nan,^  so  that  the  ceramic  artists  at  the 
close  of  this  dynasty  were  made  famous.  To  their 
first  potter  of  note,  Ta’o  Yii,  is  due  the  credit  of  the 
chefs  d' oeuvres  in  celadon,  which  are  so  much  esteemed 
in  the  East  because  of  the  color,  which  is  said  to  resemble 
green  jade  (fei-ts’ui). 

TANG  DYNASTY,  A.  D.  618-906 

When  Li  Yuan,  a former  general  under  Yang  Ti 
(the  last  emperor  of  the  Sui  dynasty),  ascended  the 


^ This  name  was  changed  in  the  seventh  century  to  Hs’in-p’ing. 
^ This  name  was  later  changed  to  Ching-te-chen. 


HISTORICAL  SKETCH 


9 


imperial  throne,  and  established  the  T’ang  dynasty,  he 
took  the  dynastic  title  Kao-Tsu  (618-627)  and  made 
Ch’ang-nan  the  capital.  He  encouraged  learning  and 
the  industrial  arts  from  the  start.  Among  the  most 
successful  ceramists  mentioned  in  the  records  is  an 
artist,  contemporaneous  with  Ta’o  Yii  and  Ho  Chou  of 
the  preceding  dynasty,  named  Ho  Chung-ch’u,  a native 
of  Hs’in-p’ing,  who  had  a kiln  at  Kiang-si,  where  he 
produced  the  celebrated  pottery  known  as  Ho-yao, 
described  as  “rivaling  the  Lu-tzu  in  softness  of  its 
lustre,’’  and  as  “ comparatively  thin.”  Reliable  author- 
ities assume  that  this  ware  was  glazed  in  a grayish  white 
to  imitate  white,  or  “mutton  fat,”  jade. 

Ts’in  yao,  made  in  Chihli  province,  is  described  as 
pure  white  with  incised  or  molded  motives  in  low 
relief;  the  paste  is  assumed  to  have  been  a pottery 
texture  without  timbre  and  coated  in  either  ta-lii,  a sort 
of  grass  green,  or  fen-ch’ing,  a purplish  glaze  without 
the  lustre  of  later  products. 

Hs’ung-yao,  another  type  of  white  glazed  bowls,  is 
referred  to  as  having  been  made  at  Hs’ung-chou  (the 
present  Shun-te-fu)  in  Chihli  province,  of  fine  thin 
paste  glazed  in  a rice-toned  white.  These  bowls  had 
resonance  as  clear  as  a bell,  for  which  reason,  it  is  stated, 
they  have  been  used  in  sets  of  six,  or  ten,  by  musicians ; 
lightly  struck  with  small  ebony  rods  they  sounded  like 
chimes. 

Yiieh  yao,  produced  under  the  later  T’ang  dynasty 
(about  923-936),  is  attributed  to  the  province  of  Cheh- 
kiang  and  to  the  kilns  at  Yiieh-chou  (the  modern  Shao- 
hsing-fu).  The  principal  products  appear  to  have  been 
bowls  glazed  in  soft  rice-toned  white;  others  are  men- 


10 


CHINESE  POTTERY 


tioned  as  resembling  the  color  of  green  jade,  and 
possessing  a clear  timbre. 

Shou  yao,  or  Tah  yao.  The  records  of  this  product 
refer  chiefly  to  white  bowls  made  at  Tah,  in  the  de- 
partment of  Kung-chou  and  the  present  Ssuchuan 
province.  These  bowls  are  referred  to  as  '‘snow-white, 
thin,  and  strong,’'  translucent,  and  with  clear  ring. 
From  this  literary  evidence  it  is  assumed  by  some 
writers  that  they  were  of  porcelain,  but  other  accounts 
describe  them  as  having  an  opaque  body  substance 
thickly  covered  with  a white  glaze.^  The  bowls  of  Ta’i 
were  eulogized  by  the  Chinese  poets  of  the  eighth  century 
for  the  white  color  and  “low  jade-like  note.” 

U-ni  yao.  Among  the  pottery  products  attributed 
to  the  kilns  at  Ch’ien-yang-fu,  in  Fu-kien  province,  a 
coarse-grained  dark  brown  or  blackish-toned  ware 
is  referred  to  in  native  texts  as  U-ni,  or  Wu-ni,  yao 
(lit.  raven’s  wing  ware).  Though  no  black  glaze  is 
specifically  named  in  the  native  accounts,  it  may  have 
been  used  on  some  of  the  pottery  from  these  kilns.  A 
black  glaze  was  certainly  produced  at  Ch’ien-yang-fou 
under  the  Sung  emperors  (see  under  Ch’ien  yao  p.  19). 
The  output  from  these  kilns  was  chiefly  bowls,  which 
were  soon  completely  taken  up  by  the  tea  masters. 
It  may  be  stated  here  that  the  growing  popularity  of 
tea  drinking  brought  the  use  of  glass  vessels  out  of 
fashion,  and  vitrified  pottery  into  favor  with  the  nobility 
during  this  and  the  following  dynasties. 

Shen-yao.  Another  pottery  product  made  during 

^ The  timbre  would  belong  to  a thoroughly  fired  stoneware,  especially 
if  thin. 


HISTORICAL  SKETCH 


II 


this  dynasty  at  the  Chen-chou  kilns  (formerly  Kiang- 
nan  district)  in  Cheh-kiang  province,  is  described  as  a 
dull  yellow  glazed  pottery  of  inferior  quality ; like  other 
products  of  these  early  epochs,  it  was  inspired  by  ancient 
massive  forms  in  bronze. 

King  yao,  a type  of  pottery  similar  to  Shen-yao  is 
mentioned  as  coming  from  Kiang-si,  a neighboring 
province. 

Pi-seh-yao.  Towards  the  end  of  this  dynasty,  and 
during  the  first  part  of  the  tenth  century,  ceramic 
records  refer  to  a product  called  Pi-seh-yao  (hidden 
color  ware)  made  under  the  direction  of  a Prince  at 
Yiieh-chou  in  Cheh-kiang  province  for  the  exclusive 
use  of  the  emperor,  and  not  to  be  seen  by  the  lower 
classes.  The  peculiarity  of  this  name  has  given  room 
for  conjectural  interpretation;  whether  it  was  only  an 
improved  Yiieh  yao,  described  above  (see  p.  9),  or  a 
distinct  and  new  glaze,  is  a moot  question.  Native 
experts  are  inclined  to  believe  that  it  was  a soft 
green  glazed  pottery  showing  probably  a bluish-green 
tone. 

Ting  yao.  The  forerunner  of  Sung  ware  of  the 
same  name  was  first  made  under  this  dynasty  at  Ting- 
chou,  corresponding  with  the  present  Ching-yang  in  the 
province  of  Shensi. 

Pai  Ting  yao.  Early  ceramic  records  and  tradi- 
tions of  the  Ting-Chou  potteries  in  the  northern  prov- 
ince of  Chihli  ascribe  the  production  of  two  distinct 
types  of  pottery  to  the  close  of  the  T’ang  dynasty 
(618-906),  one  being  the  white  Ting  yao  which  be- 
came so  famous  in  the  Sung  period,  the  other  a little 
known  Mo-Ting,  or  black  pottery.  The  Mo-Ting  con- 


12 


CHINESE  POTTERY 


sists  chiefly  of  bowls  heavily  coated  with  a soft-lustred 
black  enamel,  the  texture  of  which  is  likened  to  fine 
black  lacquer,  while  the  biscuit  foot,  described  as 
originally  very  dark  brown,  shows  black  from  age  on  the 
few  existing  bowls.  Usually  a small  band  of  copper 
finishes  the  upper  rim  (see  No.  78). 

These  potteries  in  Chihli  province  were  continued 
under  the  Sung  Emperor,  Cheng-ho  (1111-1117),  and 
closed  with  the  succeeding  ruler,  Hui  T'sung,  about 
1125-1126.  The  Pai  Ting  yao  bowls  are  referred  to 
in  the  Ko-ku-yao-lan,  a treatise  on  ceramics,  as  being 
mounted  at  the  rim  with  copper  and  showing  marks  in 
the  enamel  ^‘like  tears,”  — probably  a form  of  running 
granulation  in  the  distinctive  blackknown  to  the  Western 
amateurs  as  “hareVfur”  glaze.  In  Japan,  where  they 
were  known  as  “Temmoku,”  these  bowls  were  greatly 
esteemed  by  the  older  collectors,  who  ascribed  them  to 
the  T’ang  dynasty. 

Chu  yao,  an  early  T^ang  ware,  is  said  to  be  named 
after  Chu  Sui,  the  superintendent  of  the  imperial  kilns 
at  Hs’in-p’ing,  who  according  to  the  annals  of  Ching- 
te-chen  showed  great  zeal  in  obeying  an  imperial  order 
(issued  about  707  A.  D.)  for  certain  sacrificial  vessels 
to  be  used  for  the  imperial  tombs.^  A pale  purple 
or  violet  color  which  remains  to  be  identified  is 
mentioned  in  connection  with  products  made  under 
Chu  Sui. 

Such  objects  in  the  form  of  bowls  or  shallow  vessels  as 
are  attributed  to  the  T'ang  or  early  Sung  epochs,  show 
the  paste  to  be  chiefly  of  a felspathic  quartz,  or  stone 
substance,  heavily  coated  in  enamel  glazing,  well  in- 

^ In  ancient  times  such  objects  were  made  in  bronze. 


HISTORICAL  SKETCH 


13 


corporated  with  the  body,  and  giving  not  only  lustre 
but  also  a certain  resonance.^  In  general  it  may  be 
concluded  that  before  the  T’ang  era  (618-907),  pottery 
was  made  for  the  higher  classes  only  — for  their  com- 
mon use  or  for  their  votive  or  meat  offerings ; and  that 
their  vessels  of  ceremony,  like  those  for  their  sacrificial 
offerings,  were  usually  either  of  bronze,  jade,  or  the 
prized  opaque  Indo-Scythian  glass,  so  greatly  in  vogue 
at  this  early  epoch. 

WU  TAl  OR  FIVE  POSTERIOR  DYNASTIES, 
A.  D.  907-959 

During  this  epoch  the  record  of  ceramics  is  very 
meager,  military  despotism  holding  such  sway  that  five 
ephemeral  dynasties  followed  one  another  in  quick 
succession.  It  is  only  as  we  reach  the  posterior  Chou, 
the  last  of  these  dynasties,  with  Shi-sung  on  the  dragon 
throne  (about  954-959  A.  D.),  that  the  emperor  is  said 
to  have  ordered  that  rather  poetical  and  legendary 
product  ‘‘blue  as  the  sky  and  clear  as  a mirror,’’  etc., 
quoted  in  every  book  on  ceramics. 

Ch’ai-yao.  The  potteries  were  situated  at  P’ien- 
Liang-chou,  the  present  department  of  K’ai-feng-fu,^ 

^ Although  the  art  of  the  ceramist  was  beginning  to  be  widely  practiced 
before  the  close  of  this  dynasty,  it  may  be  concluded  that  the  products  in 
general  were  either  glazed  pottery  or  stoneware,  vitrified  and  doubtless  with 
more  or  less  timbre;  but  white  kaolin  porcelain,  so  far  as  is  known,  did  not 
exist  much  before  the  tenth  century. 

^ These  kilns  existed  in  the  eleventh  and  twelfth  centuries  under  the  Sung, 
until  beset  by  the  Tartars  (about  1125-1126  A.D.)  and  driven  southward 
with  the  last  emperor  (Hui  T’sung)  of  this  dynasty.  Under  the  succeeding 
dynasty  (the  Yiian)  another  factory  was  established  in  this  district,  when 
products  appear  under  the  name  of  Yii-yao,  or  ‘Mmperial  ware,” 


14 


CHINESE  POTTERY 


in  Honan  province.  Being  under  imperial  patronage 
this  product  became  known  as  Ch’ai-yao  (Ch’ai  being 
the  family  name  of  the  emperor).  Native  authors  state 
that  ‘‘these  objects  of  Phen-chou  eclipsed  in  delicacy  all 
that  had  preceded  it/'  and  that  “it  became  so  rare  that 
even  fragments  were  set  in  gold  and  worn  for  personal 
adornment."  This  ceramic  marvel  so  often  mentioned 
was  probably  made  in  limited  quantity  for  the  palace 
alone,  and  its  color  was  either  a light  bluish-turquoise 
or  of  the  clair  de  lune  variety. 

SUNG  DYNASTY,  A.  D.  960-1279 

The  specimens  of  pottery  attributed  by  native  con- 
noisseurs to  the  Sung  dynasty,  in  accordance  with  con- 
temporary records,  make  it  clear  that  considerable 
progress  was  made  by  Chinese  potters  during  this 
period.  This  fairly  protracted  era  of  over  three  hundred 
years  is  often  termed  the  “Augustan  Age"  in  China,  for 
interest  in  literature  and  art  then  began  to  spread,  not- 
withstanding the  fact  that  the  country  was  beset  on  all 
sides  by  bordering  tribes  of  Tartars  and  disturbed  by 
rebellious  princes.  The  more  peacefully  inclined  em- 
perors gave  considerable  patronage  to  ceramics,  and 
kilns  were  started  in  several  temporary  capitals  or 
towns  close  thereto.  The  war-like  times  often  forced  a 
removal  of  the  seat  of  government  and  of  the  imperial 
kilns  or  potteries ; and  the  consequent  shifting  of  artists 
to  new  localities  occasions  confusion  in  the  records 
when,  as  often  happens,  essentially  the  same  product  is 
recorded  under  different  names  and  places.  Similar 
confusion  may  occur  through  a change  of  rulers  though 
the  industry  was  carried  on  without  interruption  and 


HISTORICAL  SKETCH 


15 


the  objects  were  made  of  the  same  material,  if  not  by 
the  same  artist,  as  under  the  preceding  regime.  For 
these  reasons  we  may  not  always  be  able  to  note  any 
appreciable  difference  between  the  products  of  two 
kilns  unless,  as  is  seldom  the  case,  one  or  the  other  bears 
a mark. 

Chiin  yao  is  among  the  oldest  and  most  widely 
known  of  the  existing  Sung  pottery;  it  was  made  at 
Chiin-chou  (near  the  city  now  called  Yii-chou)  in  the 
northeast  of  Honan  province.  The  factory  was  started 
about  960  A.  D.  under  Emperor  Tai  Tsu  near  the  capital 
which  he  established  at  K’ai-feng-fu.  While  the  prod- 
ucts were  chiefly  modeled  after  ancient  bronzes,  they 
were  also  made  in  grotesque  forms,  and  objects  with 
relief  ornaments.  Seven  or  more  different  colored 
glazes  are  mentioned  in  the  annals  of  this  place : man- 
ganese purple  or  aubergine  (chheh-tz’u) ; a dark  plum 
color  (mei-tse-sing) ; clair  de  lune  (yueh-pai)  or  ‘"moon 
white’’;  onion-green  (ts’ung-lii)  celadon;  a green  jade- 
color  (fei-ts’ui),  also  called  pale  turquoise  blue;  pea- 
cock green  (kung-chiio-lii) ; pale  yellow  (mi-se)  like 
mustard;  a variegated,  brilliant  (yao-pien).  Of 

these  the  several  shades  include  melting  red,  pale  blue, 
purple,  pale  green,  and  soft  grays.  Vases  and  other 
objects  usually  show  a clair  de  lune  glazed  interior; 
in  general  the  paste  is  massive,  well  fired,  and  with 
some  timbre. 

Tz’u-chou  yao  (essentially  a pottery)  was  made 
during  the  Sung  dynasty  at  Tz’u-chou,  a district  an- 
ciently in  the  department  of  Chang-te  in  Honan,  but 
now  belonging  to  the  department  of  Kuang-p’ing  in 
Chihli  province.  This  pottery  gained  considerable  re- 


i6 


CHINESE  POTTERY 


nown  in  its  time  by  reproducing  the  famed  Ting  yao 
of  the  T'ang  dynasty.  An  equal  strong  white  of  heavy 
texture  is  mentioned  as  a product  of  this  kiln;  and 
occasionally  some  examples  of  Tz’u-chou  yao  show 
ornamental  work  or  decoration  in  simple  brown,  prob- 
ably the  earliest  colored  embellishment  on  record. 

Kiian  yao  signifies  ‘‘official  ware’'  and  is  the  name 
applied  to  the  imperial  ware  under  the  Sung.  This 
fine  glazed  pottery  was  first  produced  early  in  the 
twelfth  century  in  a town  called  P’ien-Liang-chou  (now^ 
known  as  K’ai-feng-fu),  in  the  northeastern  part  of 
Honan  province.  The  paste  of  the  original  Kiian  yao 
is  probably  heavier  and  more  gritty  than  in  later  prod- 
ucts made  at  Hang-chou.  The  glazes,  most  remarkable 
for  their  time,  were  usually  monochromes  of  unctuous 
texture,  a quality  most  notable  perhaps  on  the  Kiian 
yao  celadons  (also  termed  ch’ing-tz’u).  It  should  be 
stated  that  the  K’ai-feng-fu  potteries  were  abandoned 
(about  1125-1126  A.  D.)  when  the  dynasty  of  the  Sung 
passed  to  the  South  and  established  new  kilns  with  old 
potters  in  the  precincts  of  the  mayor’s  yametiy  in  Hang- 
chou-fu  near  the  new  capital.  The  artists  followed 
the  same  models  as  formerly,  took  the  forms  or  orna- 
ment from  earlier  products,  and  preserved  certain 
characteristics  which  had  distinguished  their  pottery 
from  others.  The  mode  of  using  a fine  vermilion  color 
and  fixing  it  into  the  crackle  (especially  on  the  celadon), 
was  a feature  of  the  products  of  their  kilns. 

The  Kiian  yao  made  at  Hang-chou-fu  may  be  de- 
scribed as  a kind  of  reddish-gray  stoneware  made  vitre- 
ous by  thorough  firing  and  possessing  the  ferruginous 
quality;  i.  e.y  the  foot  in  the  biscuit  shows  the  iron  color 


HISTORICAL  SKETCH 


17 


to  be  noted  on  several  old  varieties/  The  several 
typical  colored  glazes  as  recorded  are  fen-ch’ing,  an 
aubergine  purple;  yueh-pai,  ‘^moon-white’'  or  clair 
de  lune  shade;  ta-lii,  gros-vert  or  strong  green;  and  a 
celadon  called  ts’ung-lii  or  onion  green  (see  No.  104). 

Kiian  yao  (a  name  under  which  the  so-called  “ Vases 
for  the  Magistrates”  are  included)  has  become  a rather 
general  term,  not  limited  to  the  product  of  any  special 
factory  or  place.  Much  of  it  was  later  reproduced  at 
the  imperial  kilns  in  Ching-te-chen. 

Ko-yao,  or  Chang-yao,  one  of  the  most  celebrated 
wares  of  the  Southern  Sung,  was  made  in  the 
province  of  Cheh-kiang  by  Chang  Sing-i  (the  elder 
of  two  famous  brothers),  a native  of  Ch’ii-chou-fu, 
whose  kiln  was  at  Liu-t’ien  in  the  Lung-chiian  dis- 
trict. The  paste  of  this  pottery  is  described  as  being 
reddish-brown  and  when  fired  it  shows  the  ferruginous 
quality  referred  to  as  “iron-colored  rim  and  foot” 
(Tzu-k’ou-tich-tsu).  The  glaze  was  distinguished  for 
its  rich  color  as  well  as  for  its  fine  truitee  or  crackle 
effect.  Of  this  two  varieties  are  mentioned : pai-chi-sui, 
the  hundred  cracks  (literally  “the  hundred  dangers”), 
and  yii-tz’u,  so  named  because  the  crackle  is  likened  to 
“ fish  roe.”  The  colors  of  Ko-yao  glaze  are  described 
as  ts’ien-ching,  a sort  of  Chinese  kingfisher  blue- 
green  (literally  a turquoise  shade),  and  fen-ch’ing,  a 

^ The  name  Tzu-k’ou-tich-tsu,  ‘‘iron  foot  and  rim  pottery,”  is  said  to 
be  due  to  the  red-toned  material  which  came  from  Feng-huang-shou  (Phoenix 
Hill),  close  to  the  K’ai-feng  capital.  The  rim  of  the  piece  (and  wherever 
else  the  thickness  of  the  glaze  did  not  suffice  to  conceal  the  paste  or  body 
completely),  turned  brown  after  firing.  Later  potters  have  endeavored  to 
reproduce  the  peculiarity  by  using  a brown  glaze  or  stain  on  the  foot  and  the 
rim  of  their  ware. 


i8 


CHINESE  POTTERY 


pale  manganese  purple.  Chang  the  elder  also  produced 
small  objects  in  white  of  the  tint  known  as  rice  color; 
and  a fourth  glaze  is  referred  to  as  mi-se,  a pale  yellow, 
“millet-colored’’  crackle.  Some  of  these  examples  of 
Ko-yao  have  relief  embellishments  under  the  mono- 
chrome glaze.  It  is  important  to  note  that  the  term 
Ko-yao  has  also  been  extended  in  China  to  later  prod- 
ucts coated  with  monochrome  glaze  and  showing  a 
crackle. 

Chang-yao,  a brilliantly  glazed  pottery,  was  made 
by  Chang  Sheng-erh,  the  younger  brother  of  Chang 
Sing-i,  whose  products  made  after  ancient  models  were 
also  much  esteemed.  He  became  chiefly  celebrated 
through  his  celadons,  known  later  as  Lung-ch’iian 
yao.  The  products  of  the  younger  brother  are  said 
to  have  been  without  crackle;  some  were  glazed  bril- 
liantly “as  if  covered  with  dew,”  and  his  celadon  re- 
sembling “jade  stone”  was  one  of  iht  chefs  d' oeuvres  of 
his  kilns. 

Lung-ch’iian  yao  was  first  made  by  Chang  Sheng-erh 
at  Liu-t’ien  near  Lung-ch’iian-hsien  in  Cheh-kiang 
province,^  and  was  one  of  the  most  important  pottery 
products  made  under  this  dynasty.  Lung-ch’iian  cel- 
adon is  that  ch’ing-tz’u  which  is  the  ne  plus  ultra  of  the 
Chinese  amateur,  the  martibani  of  Persian  and  Arab  and 
the  seiji  of  the  Japanese.  The  typical  Lung-ch’iian-yao 
is  a celadon  of  more  distinctly  green  color  than  either 
Kuan  yao  or  Jii-yao.  Many  specimens  of  this  variety 
were  ornamented  with  relief  motives,  often  copied  from 
archaic  bronzes.  Occasionally  portions  of  the  design 

^ The  Lung-ch’iian  yao  was  also  produced  at  Ch’ii-chou-fu  in  the  same 
province  (Cheh-kiang)  up  to  the  sixteenth  century. 


HISTORICAL  SKETCH  I9 

were  left  in  the  biscuit  and  frequently  show  Taoist 
figures,  dragons,  or  chhh-lin  (kylin). 

The  paste,  being  from  the  district,  shows  the  distin- 
guishing characteristic,  — the  iron-colored  foot  and  the 
brown  rim  where  the  glaze  was  thin  or  did  not  suffi- 
ciently cover  the  edge.  That  the  paste  although  fine 
and  hard  was  not  white  porcelain  may  be  gathered  from 
the  foregoing  characteristics. 

Chfien  yao.  Several  varieties  of  choice  Ch’ien  yao 
are  described  in  the  book  called  Tao-lu^  a work  on 
ancient  Chinese  potteries.  It  is  named  after  the  town  in 
which  the  kilns  are  situated,  i.  e.,  Ch’ien-yang-fu  in 
Fu-kien  province.  The  manufactory  was  started  under 
the  preceding  dynasty  and  increased  in  importance 
during  the  first  years  of  the  Sung  dynasty;  it  flourished, 
according  to  the  records,  under  the  Southern  Sung 
up  to  the  succeeding  dynasty  (Yiian),  about  1280; 
but  the  Tao-lu  also  mentions  that  the  kilns  ceased 
making  pottery  of  the  fine  varieties  in  the  following 
century.  During  the  earlier  years  of  the  Sung  dynasty 
two  particular  types  of  Chfien  yao  are  described:  the 
first  is  similar  to  the  Pai  Ting  yao  of  the  T’ang  dynasty, 
the  second  was  made  at  Chihli  and  is,  like  the  Ch’ien 
yao,  among  the  rarest  potteries  extant.  Of  these  the 
small  black  bowls,  known  in  China  as  T’u-hao  yao  or 
‘‘  hare’s  fur  ware,”  are  most  esteemed.  This  name  is 
due  to  the  peculiar  yellowish  flecking  carried  in  the 
heavy  unctuous  black  glaze,  which  is  described  in  the 
native  treatise  as  ‘‘spotted  with  yellowish  pearls,”  or 
“ with  a soft  silvery  sheen  as  regular  as  the  fur  on  the 
leveret.”  On  another  variety  of  Ch’ien  yao,  the  bril- 
liant black  enamel  is  made  iridescent  by  a light  dappling 


20 


CHINESE  POTTERY 


which  resembles  the  bluish  speckled  marking  on  the 
breast  of  gray  partridges;  hence  this  variety  is  known 
as  ‘^partridge  bowls. These  bowls  were  mounted 
with  a small  copper  rim  which  was  often  replaced  in 
Japan  by  one  of  silver.  The  biscuit  paste,  which  shows 
black  on  all  of  these  types,  is  left  bare  at  the  base  with 
striking  effect,  for  the  heavy  distinctive  glaze  is  so  con- 
trolled as  to  terminate  in  curved  lines  or  tear-like  drops 
before  reaching  the  foot.^  (See  Nos.  79,  80,  81,  82.) 

Jii-yao  is  recorded  as  having  been  made  at  Ju-chou 
in  Honan  province,  where  the  kilns  were  started  by 
imperial  orders.  Essentially  it  is  pottery  with  the 
vitreous  glazing  laid  on  so  thickly  that  masses  stop  in 
congealed  curves  above  the  base,  thus  showing  the  bis- 
cuit state  of  the  paste.  One  of  the  colors  of  Jii-yao 
is  described  as  soft  blue  like  the  ^‘sky-blue  flower’" 
(an  azure-tinted  blossom  of  the  Vitex  incisa)^  which 
would  indicate  an  effort,  it  is  assumed,  to  produce  the 
traditional  color  of  the  semi-mythical  Ch’ai  pottery 
made  under  the  later  Chou  emperors.  Pale  celadon 
glaze  tints  were  used  at  these  kilns  with  raised  orna- 
mentation, and  the  ware  generally  shows  a ferruginous 
red-toned  paste  at  the  foot.  (See  No.  119.) 

Ki-chou  yao.  This  product,  seldom  referred  to,  is 
essentially  pottery,  and  was  made  at  Ki-chou,  later 
known  as  Liu-ling  hien  in  Kiang-si  province.  There 
were  five  kilns  in  this  Southern  district  producing  certain 

^ It  appears  that  these  bowls  have  been  virtually  unknown  to  some  West- 
ern and  even  to  native  experts  of  Chinese  ceramics;  they  have  been  most 
prized  in  Japan,  where  they  were  known  as  Temmoku,  and  were  rapidly 
taken  up  by  connoisseurs  for  tea  ceremonials.  The  most  dexterous  ceramists 
of  modern  times  have  failed  to  imitate  completely  such  bowls. 


HISTORICAL  SKETCH 


21 


Ting  yao  models.  Especially  noted  among  the  crafts- 
men and  the  artists  of  the  kilns  mentioned  are  the  expert 
named  Shu  Hung  (Chu-ong)  and  his  daughter,  Shu 
Chiao,  whose  skill  in  their  art  is  highly  lauded,  the 
‘Tair’"  daughter  surpassing  the  ‘‘venerable'"  father 
especially  in  animals  and  birds.  Their  most  original 
work  gained  renown  as  Ki-chou  yao.  The  product  of 
these  kilns  is  described  as  heavy  in  body,  and  the  glaze 
chiefly  a grayish- white  (hui-se)  with  crackle.  A purplish 
glaze  (ch'ieh-tz'u)  is  also  spoken  of.  Some  native 
authorities  attribute  the  earliest  “yao  pien"  effects  in 
■flambe  to  Ki-chou  kilns.  These  effects  were  presum- 
ably purple  and  gray  slightly  variegated  through  acci- 
dental merging  of  the  colored  oxides. 

Ting  yao.  The  widely  famed  Ting  yao,  which  was 
first  made  under  the  T'ang  dynasty  at  Ting-chou  in 
Chihli  province,  became  during  this  and  the  following 
dynasty  a most  important  factor  in  the  industrial  arts 
of  China. 

Two  distinct  varieties  are  mentioned  as  emanating 
from  these  northern  kilns,  notably  the  white  Pai  Ting, 
termed  also  Fen  Ting  or  white  Ting,  in  contradistinc- 
tion to  the  Nan  Ting  of  the  southern  kilns  which  were 
closed  with  the  removal  of  the  court  (about  1125-- 
1126  A.  D.);  and  T’u  Ting  yao,  more  essentially  a 
pottery  paste  (see  p.  22).  In  tint,  the  glaze  of  Fen 
Ting  yao  is  likened  to  flour  or  meal,^  and  the  body, 
especially  of  bowls,  is  thin  and  has  resonant  timbre. 

The  shallow  vessels  or  bowls  of  this  period,  like  the 
later  products  of  the  following  dynasty,  occasionally 

^ Later  types  which  are  more  kaolinic  show  generally  a bluish-tinged 
white,  due  to  a mixture  of  lime  in  the  glazing. 


22 


CHINESE  POTTERY 


show  a low  delicately  molded  ornamentation  embodied 
in  the  paste  before  glazing ; on  some  examples  it  appears 
on  the  interior  or  exterior  only,  while  on  others  the  em- 
bellishment with  similar  motives  appears  on  both  sides. 
Among  the  favorite  designs  are  those  which  convey  a 
meaning,  floral  motives  like  the  tree  peony,  the  lily 
or  lotus  blossom,  a flying  phoenix  (fei-feng),  or  a pair 
of  fish,  all  of  which  are  significant.  (See  No.  140.) 

Among  other  Sung  pottery  coming  under  the  category 
of  Ting  yao  may  be  mentioned  a variety  known  to 
native  collectors  as  Hsian  Ting  yao,  originally  made  at 
Yii-chou  in  the  prefecture  of  K"ai-feng-fu.  It  appears 
that  the  finest  types  were  made  under  the  reign  of 
Cheng-ho  (1111-1117  A.  D.).  The  records  especially 
mention  white  glazed  bowls  and  shallow  dishes,  usually 
showing  a slightly  raised  embellishment  such  as  flowers 
(hua),  tree-peony  blossoms  (hsiian-ts’ao),  or  the  flying 
phoenix.  (See  No.  128.) 

The  treatise  on  pottery  records  the  existence  of  six 
potteries  or  factories  during  this  dynasty  in  the  province 
of  Kiang-nan,  of  which  five  were  entirely  devoted  to  the 
white  glazed  product  so  much  in  vogue.  The  most 
important  was  situated  at  Ssu-chou ; another  was  situ- 
ated in  Pai-tu  chin  (village  of  white  clay),  where  many 
kilns  produced  fine  types  in  brilliant  white.  Celadon 
tints  were  also  made  at  these  kilns  with  crackle  and 
modeled  or  raised  ornamentation.  Authentic  speci- 
mens show  an  iron-red  foot,  imitated  by  artificial  meth- 
ods in  later  copies. 

T’u  Ting  yao  (literally  Ting  pottery)  is  assigned  by 
the  Chinese  either  to  kilns  at  Kiang-nan  in  Kiang-si 
province,  or  to  those  at  Kuang  Tung.  The  difference 


HISTORICAL  SKETCH 


23 


between  the  varieties  thus  distinguished  is  in  the  paste : ‘ 
those  from  Kuang  Tung  are  essentially  pottery  of  mas- 
sive body  with  heavy  lustrous  glaze  showing  crackle 
and  unctuous  quality,  while  the  product  from  Kiang- 
nan  shows  a thin  body  in  a warm  or  deep  cream  white 
or  ivory  tone,  with  ornamental  motives  in  low  relief. 
Occasionally  a pale  creamy  enamel  without  lustre  was 
produced  resembling  the  shell  of  an  egg.^  The  thick 
opaque  glaze  terminating  in  curves  below  leaves  the 
slightly  buff-toned  biscuit  visible  at  the  foot.  Among 
the  products  of  the  artists  at  the  Kuang  Tung  kilns  is 
a variegated  and  lustrous  glaze  showing  brilliant  deep 
blue  with  flecking  or  clouding  in  white  tones  inter- 
mingled with  pale  green  of  the  flambe  variety. 

From  the  foregoing  details  it  will  be  apparent  that 
the  range  of  the  so-called  Ting  yao  was  extensive,^  and 
that  the  name  refers  especially  to  white  specimens  with 
a soft  cream-tinted  white  glaze  and  thin  body. 

Jung-yao.  Although  scarcely  known,  this  pottery 
was,  like  Kiian  yao,  originally  produced  at  P’ien-chou 
(K’ai-feng-fu)  in  Honan  province,  and  subsequently 
made  at  Hang-chou  in  Cheh-kiang  province.  It  de- 

^ The  Kochi-yaki  of  the  Japanese  pottery  collectors  are  often  Chinese 
T^u  Ting  yao. 

® In  a record  of  the  ceramic  industry  called  Hsiang  TzH-ching  written 
in  the  fifteenth  century  by  the  native  virtuoso  Hsian  Yuan-p’ien,  it  is  said  that 
the  potters  of  this  dynasty,  like  those  of  former  epochs,  freely  used  ancient 
bronze  vessels  as  models,  and  that  not  only  were  forms  carefully  copied,  but  also 
the  motives  of  relief  embellishment.  While  the  white  glazed  objects  known 
as  ‘‘Ting  yao’^  are  especially  referred  to  in  this  statement,  it  applies  also  to 
other  varieties.  Probably,  also,  the  then  existing  carved  jade  objects  were 
likewise  taken  as  models  for  libation  or  sacrificial  vessels,  censors,  and  the 
like. 


24 


CHINESE  POTTERY 


' rived  its  name  Jung  (‘‘east  ”)  from  the  fact  that  K’ai- 
feng-fu  was  the  northeastern  capital  of  the  Sung.  The 
clay  is  described  as  dark  toned,  well  fired  with  the  sin- 
gular “iron-colored  foot  and  rim,''  but  gritty,  and  heavier 
than  Kiian  yao.  This  pottery  often  bears  floral  em- 
bellishment in  relief,  under  a bright  celadon  green 
glazing.  Its  color  served  as  a tenth  century  model  for 
the  ch'ing-tz'u  products,  later  made  at  Hang-chou, 
which  was  during  the  twelfth  century  on  the  principal 
trade  route  between  China  and  the  outer  world ; and  in 
Marco  Polo's  time  it  found  its  way  with  other  celadons  to 
Persia  and  Arabia  under  the  general  term  “ch'ing-tz'u." 

YUAN  DYNASTY,  1280-1367 

This  dynasty  was  established  by  Kublai  Khan 
(A.  D.  1280-1294),  who  when  he  became  the  ruler  of 
China  decided  to  call  his  dynasty  “Yiian"  (the  word 
means  “original"),  to  indicate  that  he  was  inaugurat- 
ing a new  regime.  Kublai  took  the  dynastic  title  of 
Shih  Tsu  and  established  his  capital  at  Cambuluc,  the 
present  Peking.  This  Mongolian  dynasty  lasting  less 
than  a century  was  not  very  favorable  to  the  develop- 
ment of  industries,  and  on  the  whole  the  sovereigns  of 
this  period  did  not  particularly  patronize  the  ceramic 
art  of  the  “Middle  Kingdom."  Nevertheless,  when 
the  “Mighty  Mongol"  (Kublai  Khan)  held  his  court  at 
Cambuluc,  a taste  was  developed  for  the  more  cele- 
brated pottery  of  former  periods. 

Yuan  yao,  or  Yiian  tz’u,  may  be  regarded  as  the 
most  representative  pottery  of  this  era ; it  was  made  at 
the  imperial  factories  in  Ching-te-chen,  where  it  was 


HISTORICAL  SKETCH 


25 


known  as  “officiar’  or  ‘‘Mandarin’’  ware.  The  exist- 
ing examples  are  chiefly  small  objects.  The  paste  is  a 
kind  of  stoneware  or  dense-textured  pottery  of  a gray 
or  reddish-gray  tone,  opaque  and  well  fired.  The 
glaze,  its  chief  feature,  is  always  admirable,  especially 
the  soft  light  blue  termed  yueh-pai  (moon  white) 
in  China,  or  clair  de  lune  by  Western  experts.  Its  pe- 
culiarity usually  consists  in  the  splashes  and  cloudings 
of  strongly  marked  red ; or  the  pale  opaque  blue  enamel 
may  be  speckled  with  small  particles  of  red  after  the 
flambe  ^ effects  in  old  Chiin  yao,  which  it  is  said  to  re- 
semble rather  closely.  The  glaze,  which  is  usually  heavy 
and  lustrous,  sometimes  with  a crackle  and  sometimes 
without,  carries  a wonderful  effect  of  depth. 

The  records  also  mention  another  product  called 
Yiian  yao  which  was  made  at  Ssu-chou  in  Nan-chiang. 
The  Tao-Iu  also  mentions  that  quantities  of  white  Ting 
yao  came  from  these  kilns  and  were  quickly  absorbed 
when  the  real  Ting  yao  made  under  the  Sung  became 
rare.  The  pieces  made  for  the  palace  were  called 
Shu-fu  yao. 

Shu-fu  yao  and  Ho-yao.  This  product  made  at 
Ho-chou  in  Kiang-nan  province  is  chiefly  notable  for 
clever  reproductions  of  the  earlier  Ting  yao  of  the  Sung 
period.  The  paste  is  fairly  thin,  often  showing  engraved 
ornamentation  in  slight  relief.  Some  of  the  vessels 

^ Brilliant  splashes  of  color,  due  to  the  unequal  oxidization  of  copper  sili- 
cates in  the  body  of  the  glaze.  At  first  fortuitous  and  considered  as  blem- 
ishes, these  furnace  transmutations,  or  Jiambe  effects,  were  later  intentionally 
caused  by  means  of  localized  draughts  and  other  devices  regulating  the  pro- 
toxide and  the  quantity  of  air  admitted  to  the  furnace.  According  to  the 
degree  of  oxygenation  these  clouds  and  spots  vary  from  brilliant  ruby-red  to 
light  purple,  turquoise  blue,  and  green. 


26 


CHINESE  POTTERY 


were  covered  in  celadon  glaze.  The  existing  examples 
are  in  the  main  bowls  and  dishes  bearing  underneath 
the  characters  “Shu-fu’'  — “the  palace.'*"  The  celadons 
from  Ho-chou  (later  they  became  known  as  Ho-yao) 
are  attributed  to  a kiln  named  P’eng  Chiin-pao;  hence 
they  are  also  called  P’eng  yao  in  native  texts. 

The  author  of  the  treatise  called  Hsiang  Tzu-ching, 
previously  quoted/  refers  to  the  specimens  of  Shu-fu 
yao  and  Ho-yao  produced  under  this  dynasty  as  being 
“in  paste,  form,  and  color  of  the  glaze  precisely  the 
same  as  the  earlier  Sung  Ting  yao  models.""  Continu- 
ing he  states  that  “there  is  no  appreciable  difference,  so 
that  when  later  experts  declare  a piece  to  be  Sung,  it 
may  be  Yiian,  or  vice  vers  a. In  the  products  of  the 
Ming,  when  kaolin  paste  predominated,  the  matter  is 
more  readily  determined,  except  when  (as  some  ex- 
amples indicate)  the  potter  preferred  the  softer  effect 
obtained  in  the  glaze  by  the  use  of  a material  that  in  its 
composition  would  be  either  pottery,  stoneware,  or  the 
so-called  semi-porcelain.  Any  one  of  these  varieties  of 
paste  may  be  chosen  in  reproducing  an  ancient  type. 

Yuan  Ting  yao.  The  smaller  Ting  bowls,  generally 
showing  the  outer  surface  fluted  or  molded  to  resemble 
the  calyx  of  a lotus  flower,  are  ascribed  by  native  records 
to  the  Yiian  dynasty.^  Some  of  these  bowls  show  an 
interior  floral  embellishment  delicately  cut  into  the  paste, 
so  that  the  pattern  is  slightly  raised.  This  variety  is  at- 
tributed to  the  potters  at  Kiang-nan.  While  they  closely 

^ Page  23,  note  2, 

2 None  of  these  bowls,  and  none  of  the  Ming  copies,  is  marked  with  date 
or  period. 


HISTORICAL  SKETCH  27 

resemble  the  older  Ting  yao,  the  glaze  is  somewhat 
more  lustrous  and  of  the  darker  “mutton  fat'’  tinge. 

Kuang-yao.  This  pottery  was  produced  near  the 
close  of  the  Yuan  dynasty  at  Yang-Ch’ing  in  the  south- 
ern province  of  Kuang  Tung.  Described  as  a dense  and 
hard  stoneware  of  refractory  texture,  ranging  in  color 
from  dark  gray  and  red-toned  brown  to  nearly  black, 
it  is  distinguished  for  brilliant  qualities  in  the  colored 
glaze.  The  commonest  glaze  is  a variegated  flambe 
(yao-pien),^  the  dominating  color  being  a deep  rich  blue 
with  cloudings  of  pale  green  passing  into  the  darker 
shades  with  streaks  of  buff.  The  other  colors  occurring 
in  monochrome  glaze  include  manganese  purples,  lus- 
trous reds,  “camellia-leaf"  green,  and  crackled  grayish- 
whites,  the  latter  being  the  most  esteemed.  Some 
examples  made  at  these  kilns  show  the  surfaces  only 
partly  coated  vAth  the  glaze  which  the  skilful  artist 
has  controlled  so  that  it  ends  in  thick  irregular  curves 
and  leaves  the  biscuit  visible  at  the  base. 

Hu-t’ien-yao  (Ou-t’ien)  was  made  under  this  dynasty 
in  the  neighborhood  of  Ching-te-chen  at  Hu-t’ien-shi. 
It  is  noted  for  its  durability  or  strength  rather  than  for 
any  other  qualities,  for  which  reason  examples  were  not 
rare  in  later  periods.  A yellow  “muddy  tone"  is  as- 
signed to  it,  and  usually  the  surface  of  the  paste  is 
molded  or  deeply  incised  with  archaic  relief  ornamen- 
tation. It  may  be  also  assumed  that  some  of  the  Hu- 
t'ien-yao  output  reproduced  the  older  types  that  were 
in  vogue  at  this  period. 

^ This  pottery,  especially  the  blue  flambe  variety,  was  most  esteemed 
in  Japan. 


28 


CHINESE  POTTERY 


MING  DYNASTY,  A.  D.  1368-1643 

Emperor  Hung-wu  (1368-1398),  the  founder  of  this 
dynasty,  built  a new  factory  at  the  foot  of  Mount  Ch’ou- 
chan  in  Ching-te-chen  in  the  present  Kiang-si  province 
(formerly  Fou-Liang),  where  all  the  products  intended 
for  the  palace  were  made.  During  this  period  the  em- 
peror decreed  that  all  objects  made  for  the  palace 
should  be  inscribed  with  the  date  marked  in  four  or 
six  characters,  the  former  giving  the  dynastic  name 
“Hung-wu’’  and  the  latter  including  the  name  of 
his  dynasty  “Ta  Ming.”  From  this  time  the  manu- 
facture of  ceramics  was  concentrated  in  this  one  town 
under  the  direct  patronage  of  the  emperors.  Owing 
to  the  length  of  this  dynasty  and  the  peaceful  conditions 
which  prevailed,  ceramic  art  received  its  greatest  devel- 
opment; kilns  were  increased,  and  the  number  of 
workers  whose  achievements  in  their  art  are  especially 
eulogized  was  multiplied.  Quantities  of  fine  mono- 
chromes as  well  as  decorated  wares  were  produced  and 
distributed  from  these  kilns  over  the  empire  and  to  the 
Western  nations.  The  reproduction  of  older  pieces, 
which  was  frequent,  appears  to  have  been  chiefly  for 
native  collectors  and  was  often  undertaken  by  artists 
to  show  their  masterly  skill.  The  records  of  kilns 
other  than  those  of  the  imperial  factories  — except- 
ing those  of  Te-hua  in  Fu-kien  ^ province  and  the 
Lung-chiian  yao  made  at  Ch’ii-chou-fu  — are  very 
scanty.  It  is  assumed  that  some  became  disused 

^ The  Te-hua  product  of  Fu-kien  of  this  era  is  the  white  Ch’ien  tz’ii  or 
Ch’ien  yao,  known  to  French  amateurs  as  blanc  de  Chine, 


HISTORICAL  SKETCH  2Q 

altogether  or  provided  only  the  coarser  ware  for  local 
use. 

The  distinctive  products  of  this  dynasty  are  strongly 
marked  in  their  characteristics:  in  general  they  are  so 
massive  and  sonorous  that  the  various  types  may  be 
readily  distinguished;  moreover,  the  best  products  of 
this  epoch  bear  marks,  except  when  they  are  repro- 
ductions of  Sung  or  Yuan  specimens. 

The  advent  of  the  so-called  blue  and  white  porcelain 
may  be  attributed  to  this  dynasty;  for  a fine  cobalt  blue 
for  decorative  painting  under  the  glaze  appears  to  have 
been  first  used  in  the  Yung-lo  reign  (A.  D.  1403-1424). 
In  the  annals  of  the  Fou-liang  kilns  mention  is  made  of 
the  famed  Mohammedan  blue  (su-ma-ni)^  as  being  used 
in  the  fifteenth  century,  especially  during  the  reign  of 
Hsiian-te  (A.  D.  1426-1435),  with  much  success,  and 
later  again  in  the  period  of  Cheng-te  (A.  D.  1 506-1 521). 
Noteworthy  also  are  the  early  polychrome  decorations 
made  under  the  Ming,  especially  the  ‘Three  colored’" 
decorations  first  produced  under  Ch’eng-hua  (A.  D. 
1465-1487)  and  called  “San-ts’ai”  by  native  ex- 
perts, and  the  other  type  known  as  “Wu  ts’ai”  or 
“five  colored”  decoration,  chiefly  made  in  the  reign 
of  Wan-li  (A.  D.  1573-1619). 

During  the  Ming  period  many  ceramists  practiced 
their  arts  quite  independently.  Among  them  is  men- 
tioned one  who  retired  to  a secret  studio  where  he 
worked  leisurely  on  objects  “of  charming  elegance” 
and  took  the  name  of  “ Ou-yin-tao-j en ” (“old  man 
who  lives  in  retreat”). 

Yi-hsing  yao,  a reddish-brown  pottery  known  to 

^ A cobalt  mineral  known  also  as  wu  ming  yi.” 


30 


CHINESE  POTTERY 


collectors  by  the  Portuguese  name  boccaro,  was 
made  at  Yi-hsing/  a small  town  situated  near  Tai- 
yi-hsiang-wu,  a lake  in  Kiang-su  province.  The  best 
and  rarest  types  are  of  the  Ming  dynasty  and  espe- 
cially those  said  to  come  from  the  kilns  of  Kung  Ch’un, 
who  fashioned  small  objects  and  teapots  with  the  soft 
brownish  (unglazed)  texture  of  old  felt.  More  recent 
products  show  a dark  terra-cotta  body,  often  embel- 
lished with  enamel  decorations;  but  they  are  less  in- 
teresting than  those  of  the  Ming  artists  and  inferior  to 
them. 

CHTNG  DYNASTY,  1644  TO  THE  PRESENT 

This  dynasty  was  inaugurated  by  the  Manchu  Regent, 
Durgan,  who  placed  his  nephew,  a child  of  six  years, 
upon  the  throne  under  the  dynastic  name  of  Shih  Tsu 
Chang,  though  he  is  generally  known  under  the  title 
of  his  reign  ^ as  Shun  Chih  (1644-1661). 

The  imperial  factories  at  Ching-te-chen,  which  had 
been  closed  during  the  later  turbulent  years  of  the  pre- 
ceding dynasty,  were  re-opened  under  the  young  em- 
peror after  he  found  himself  firm  upon  the  dragon 
throne.  Dying  very  young,  this  first  emperor  of  the 
Ch’ing  dynasty  appointed  his  second  son,  then  a child 

^ The  Yi-hsing  kilns  were  founded  by  the  celebrated  potter  Kung  Ch’un 
in  the  reign  of  Cheng-te  (1506-1521).  The  famous  potter  *'Ou”  worked 
here  during  the  Wan-li  period  (1573—1619)  and  reproduced  the  “crackled 
Ko-yao*^;  he  also  made  the  local  brownish-red  stoneware  with  variegated 
and  monochrome  glazes. 

* The  name  adopted  by  an  emperor  on  ascending  the  throne  to  indicate 
the  years  of  reign.  The  reign  dates  from  the  beginning  of  the  new  year 
after  his  accession  and  includes  the  whole  of  the  year  in  which  an  emperor 
dies. 


HISTORICAL  SKETCH 


31 


of  eight  as  his  successor,  known  by  the  title  of  his  reign 
as  K"ang-hsi  (1662-1722).  It  is  agreed  by  connois- 
seurs that  the  culminating  epoch  of  ceramic  art  in 
China  began  in  his  reign  and  continued  through  the 
reigns  of  his  son,  Yung-ch’eng,  and  grandson,  Chhen- 
lung. 

These  three  reigns  and  particularly  that  of  K’ang- 
hsi  may  be  denominated  the  Chinese  renaissance  period. 
The  most  suitable  men  were  appointed  to  direct  in- 
dustries and  education  generally,  and  able  men  were 
put  in  charge  of  the  imperial  factories  at  Ching-te-chen. 
Single  colored  glazes  were  essayed  which  have  never 
been  equaled  or  excelled,  while  the  painted  decoration 
known  as  famille  verte  (the  so-called  ‘'seven  colors’’ 
of  modern  collectors)  is  preeminent  in  its  own  class. 

Among  names  that  rank  foremost  in  the  annals  of 
Ching-te-chen  may  be  mentioned  Lang  T’ing-tso,  a 
viceroy  or  governor  of  the  united  provinces  of  Kiang-si 
and  Kiang-nan,  whose  name  was  identified  with  two 
particular  products,  viz.^  “Lang-yao,”  a wonderful 
monochrome  claret-like  red  glaze  known  as  sang  de 
bcBuf,  and  “Lu  Lang-yao,”  the  famed  “apple  green” 
with  crackle.  (See  No.  50.) 

The  other  specially  distinguished  potter  of  this  period 
was  Ts’ang  Ying-hsuan,  an  officer  of  the  Board  of 
Public  Works,  who  became  superintendent  of  the  im- 
perial kilns  at  Ching-te-chen.  Under  his  direction  the 
wonderful  soft-toned  “peach-red”  glaze  was  made  in 
its  greatest  perfection  and  applied  to  exceedingly  grace- 
ful forms. 

The  succeeding  emperor,  Yung-ch’eng  (1723-1735), 
like  his  father,  appears  to  have  taken  keen  interest  in 


32 


CHINESE  POTTERY 


the  new  products  from  the  Ching-te-chen  kilns,  express- 
ing gratification  and  approval  for  many  discoveries  in 
the  art  of  glazing  and  decoration.  The  most  impor- 
tant innovations  were  new  varieties  in  half  tones  or 
blended  glazes,  more  or  less  opaque.  Especially  to  be 
noted  is  the  rose-carmine  glaze  derived  from  oxide 
of  gold  which  is  commonly  known  as  famille  rose 
decoration. 

Emperor  Ch’ien-lung  (1736-1795)  also  patronized 
the  ceramic  industry  with  munificence  during  his  pro- 
longed reign.  While  many  wonderful  objects  were  pro- 
duced, foreign  influence  began  to  affect  the  decoration 
as  well  as  the  forms  of  this  period,  and  with  it  came  the 
desire  to  imitate  other  substances,  such  as  metals  (gold, 
silver,  iron,  bronze),  cloisonne,  lacquer,  shells,  horn, 
wood,  marble,  carnelian,  agate,  jade,  Venetian  glass, 
and  even  Limoges  enamels.  All  were  copied  with  such 
wonderful  closeness  in  color  and  form  that  this  epoch 
is  distinguished  for  the  mastery  of  technique  over 
material.  Floral  painting  on  porcelain  was  carried  to  a 
perfection  never  attained  before,  as  may  be  seen  in  ex- 
amples only  recently  known  to  Western  collectors. 
Among  the  imitations  of  older  wares,  the  white  glazed 
productions  copied  from  bronze  or  jade  ceremonial 
vessels  are  noteworthy,  as  are  also  the  specimens  of 
flamhe.  The  latter  are,  however,  chiefly  made  of  kao- 
linic  porcelain  and  are  thus  distinct  from  the  older  prod- 
ucts in  which  the  paste  or  body  is  usually  ferruginous 
pottery. 

In  general  the  products  of  these  two  later  reigns 
show  a gradual  change  from  the  clear  transparent  or 
vitreous  glazes  of  the  era  of  K'ang-hsi  to  opaque  half- 


HISTORICAL  SKETCH 


33 


toned  enamels,  and  from  the  vigorously  rendered  deco- 
rations of  earlier  Ming  periods  to  a more  labored  finish 
and  stencil-like  exactness.  Masterly  paintings  and 
drawings  of  Sung  and  Yiian  artists  were  copied  by  the 
ceramists,  but  the  vital  decorative  force  of  such  work 
was  weakened  by  superabundant  detail  and  elaborate 
finish.  The  more  modern  period,  which  dates  from 
about  1796,  does  not  demand  attention  here. 

TERMINOLOGY 

In  a broad  sense,  the  generic  word  ‘‘pottery”  com- 
prehends all  kinds  of  fired  earthenware,  whether  soft 
(faience)  or  hard  (stoneware,  sometimes  called  semi- 
porcelain). Although  the  white  kaolinic  product,  the 
last  achievement  in  ceramic  art,  is  called  “porcelain,” 
that  term  is  often  wrongly  employed  in  connection  with 
gray,  hard  paste  pottery  or  stoneware,^  which  may  have 
through  thorough  firing  a palpable  or  incipient  vitrifi- 
cation and  also  a certain  timbre.  While  the  Chinese 
authors  of  ancient  times  described  the  various  products 
as  “tz’u”  or  “yao”  with  some  enthusiasm,  they  have 
not  accurately  differentiated  between  these  particular 
substances. 

The  ceramic  product  of  the  Han  dynasty  was  de- 

^ The  distinction  between  fine  stoneware  and  porcelain,  especially  when 
heavily  covered  with  enamel  glass,  is  not  always  clearly  evident.  Chinese 
porcelain  proper  has  a pure  white  body,  is  sonorous  and  imperme- 
able to  water ; it  is  distinguishable  also  by  vitrification  or  hardness,  and  its 
translucency  is  enhanced  by  the  pure  siliceous  glaze.  The  component  paste 
consists  essentially  of  two  materials,  kaolin,  the  white  clay  element  of  plas- 
ticity, and  pe’tun,  a fusible  felspathic  quartz  which  gives  transparency.  In 
briquette  form  for  potters  it  is  called  pe’tun-tse.  Pottery  therefore  as  dis- 
tinct from  porcelain  is  softer,  and  unless  glazed  is  too  porous  to  hold  water. 

3 


34 


CHINESE  POTTERY 


fined  by  the  character  “tz’u/"  as  appears  from  tran- 
scripts of  the  early  history.  This  character  continued 
to  designate  pottery  of  one  type  or  another  until  the  Sui 
dynasty,  when  the  character  “t’ao’’  appears  for  the 
first  time.  Within  the  dynasty  of  the  T'ang,  the  char- 
acter was  again  changed  for  another  word  ‘‘yao,"’  and 
this  word  has  continued  in  use  ever  since,  although  it 
may  be  applied  to  any  object  of  clay  baked  in  a kiln, 
whether  pottery  or  porcelain.  The  character  “tz’u'’ 
appears  to  have  been  used  to  define  a stoneware  that 
was  glazed  and  thoroughly  vitrified  by  firing.  In  tran- 
scripts from  early  Chinese  works  on  ceramics  a “certain 
kind  of  ware  or  yao,'’  is  referred  to  as  made  from 
crushed  stone  found  in  the  district  of  Tz’u-chou,  namely, 
a felspathic  stone  slightly  gray  or  reddish  in  color  ac- 
cording to  the  locality  from  which  it  came. 

Pottery  exists  in  varying  forms,  is  of  soft  or  hard  sub- 
stance, and  is  often  composed  of  heterogeneous  mate- 
rials, yellow,  red,  brown,  or  gray.  It  may  be  covered 
with  a stratum  of  white  composition  like  pe’tun  and 
kaolin,  or  with  a heavy  layer  of  plumbean  enamel  fixed 
by  a first  firing;  in  a second  firing  another  coating  of 
colored  glazes  may  be  added  to  give  more  brilliancy. 

It  appears  that  unglazed  earthenware  was  distin- 
guished in  ancient  Chinese  literature  by  a round  char- 
acter “wa”;  later  glazed  earthenware  was  probably 
indicated  by  the  joined  characters,  “Liu-li  wa."’ 


CHRONOLOGICAL  SUMMARY 
OF  DYNASTIES 


Mythical  Epoch. 

Began 

Ended 

San  Huang  or  Three  Fabulous  Rulers  about  B.  C. 

3300 

about 

B.  C.  2852 

Quasi-Legendary  Epoch. 
Wu  Ti  or  so-called  Five  Rulers 

(<  (( 

2852 

it 

2205 

SaN  Tai  or  Three  Early  Dynasties. 

Hsia,  first  dynasty 

(<  (t 

2205 

ti 

1766 

Shang,  or  Yin  ^ 

u <t 

1766 

it 

“ 1122 

Chou 

tt  (( 

1122 

tt 

“ 255 

Ts’in  or  Western  Ch’in 

t(  t( 

255 

tt 

“ 206 

Han,  also  Western  Han 

((  (t 

206 

tt 

A.  D.  24 

Eastern  Han 

Later  Han  (The  Three  Kingdoms, 

“ A.  D. 

25 

tt 

“ 220 

Han,  Wu,  and  Wei) 

€( 

221 

tt 

264 

Chin,  Western 

265 

tt 

“ 322 

Chin,  Eastern 

Sung  (House  of  Liu-Yu) 

(t 

323 

tt 

" 419 

A.  D.  420-478. 

Northern  Wei  (Tartars)  A. 

D.  386-549 

Ch’i  “ 479-501. 

Eastern  Wei 

tt 

434-550 

Liang  “ 502-5^6. 

Ch’en  “ 557-581. 

Northern  Chi 

ti 

tt 

551-556 

Northern  Chou  “ 

tt 

557-581 

Began 

Ended 

Sui 

about  A.  D. 

581 

about  A.  D.  617 

T’ang 

U 

618 

it 

“ 906 

Later  Liang 
Later  T’ang 

it  « 

907 

tt 

“ 922 

a a 

923 

ft 

" 935 

Later  Chin  (Ts’in) 

a u 

936 

tt 

» 946 

Later  Han 

((  (C 

947 

it 

“ 950 

Later  Chou 

(t  « 

951 

tt 

" 959 

Northern  Sung 

Liao,  Khitan  Tar- 

(Chinese)  A.  D.  960-1126. 

tars 

A.  D.  916-1119 

Southern  Sung  “ 1127-1279. 

Chin  (or  golden 
dynasty).  Kin  Tar- 

tars 

ti 

I I 15-1234 

Began 

Ended 

Yiian  (Mongolian) 

about  A.  D.  : 

1280  about  A.  D.  1367 

Ming  (Chinese) 

t€  ii 

1368 

if 

“ 1643 

Ch’ing  or  Ts’ing,  (present,  Manchu)  “ “ 1644 


^ The  dates  of  this  and  of  the  preceding  dynasties  are  approximations  only. 


6 


DESCRIPTIVE  LIST 


1.  Bowl.  Red-toned  ferruginous  biscuit,  with  inner  and 
outer  surface  heavily  coated  in  running  celadon  glaze, 
showing  violet  flamhe  and  streaked  granulations. 

Sung  Dynasty.  Height  .088  m.  Diameter  .184  m. 

2.  Bottle.  Biberon  shape  with  small  neck.  Dense  gray- 
toned  biscuit,  showing  cafe  au  lait  crackle  glaze  with  flamhe 
markings  in  soft  red,  green,  and  dair  de  lune  shading. 

Yiian  Dynasty.  Height  .172  m.  Diameter  .133  m. 

3.  Bottle.  Pear-shaped  with  slender  neck.  Dense  brown 
biscuit  invested  with  soft  greenish  glaze  of  opaque  celadon 
tone,  imbued  with  iridescence  and  fine  crackle.  K’ang-hsi 
period. 

Ch’ing  Dynasty.  Height  .210  m.  Diameter  .099  m. 

4.  Dish.  Shallow  shape.  Hard  bulF-toned  biscuit,  show- 
ing interior  coated  in  deep  clair  de  lune  with  gray  and  red 
flamhe  clouding  and  crackle.  The  under  side  shows  the 
chief  color  merging  into  soft  opaque  green. 

Sung-Yiian.  Height  .035  m.  Diameter  .156  m. 

5.  Small  Bottle.  Biberon  shape.  Dense  gray  stone- 
ware, coated  in  dark  mottled  plum-colored  glaze  with  pale 
green  clouding. 

Yiian  Dynasty.  Height  .069  m.  Diameter  .044  m. 

6.  Low  Jar.  Globular  form.  Dense  buff-toned  biscuit, 
showing  a brilliant  purplish  tone  with  turquoise  and  gray 
flamhe.  Interior  coated  in  turquoise  glaze. 

Yuan  Dynasty.  Height  .083  m.  Diameter  .159  m. 

37 


38  CHINESE  POTTERY 

7.  Small  Jar.  Oviform  with  handles.  Dense  reddish 
buff-toned  biscuit,  coated  in  clair  de  lune  glaze,  showing 
fortuitous  cloudings  in  soft  red  and  purple  flarnhe  with 
crackle.  Kiian  yao. 

Sung  Dynasty.  Height  .119  m.  Diameter  .135  m. 

80  Vase.  Quadri-foliated  shape.  Dense  brown  biscuit, 
coated  in  brilliant  purplish-red  “yao-pien’^  (flambe)  with 
clair  de  lune  flecking. 

Yiian  Dynasty.  Height  .156  m.  Diameter  .076  m. 

9.  Small  Vase.  Biberon  shape.  Buff-toned  biscuit, 
coated  in  flamhe  (“yao-pien”)  glazing  with  red  body 
and  green  clouding;  brilliant  texture. 

Yiian  Dynasty.  Height  .104  m.  Diameter  .053  m. 

10.  Bowl.  Red-toned  biscuit,  the  interior  showing  clair 
de  lune  glaze  with  flecking  of  purple,  the  exterior  surface 
coated  in  a deeper  tone  embodying  fortuitous  purple  and 
red  flambL 

Sung-Yuan.  Height  .081  m.  Diameter  .180  m. 

11.  Bottle.  Neck  is  encircled  by  a hornless  dragon 
(‘‘mang”);  light  brown  biscuit  of  dense  texture,  coated 
in  dark-mottled  drab  with  lilac  and  white-toned  ‘‘  yao- 
pien’’  cloudings.  Kuang-yao. 

Yiian-Ming.  Height  .169  m.  Diameter  .116  m. 

12.  Low  Jar.  Globular  shape.  Dense  brown  biscuit, 
the  outer  surface  showing  a manganese  purple  glaze 
with  an  overrunning  green  flamhe  effect  at  the  neck; 
the  interior  is  glazed  in  vitreous  green.  Kuang-yao. 

Yiian  Dynasty.  Height  .086  m.  Diameter  .159  m. 

13.  Bowl.  Dark  gray  stoneware;  the  exterior  is  glazed 
in  blue-tinged  clair  de  lune  with  crackle  toward  the 
base;  interior  showing  the  same  tint  with  purplish 
flamhe  clouding. 

Yiian  Dynasty.  Height  .087  m.  Diameter  .181  m. 


DESCRIPTIVE  LIST 


39 


14.  Bottle.  Pear-shaped,  with  two  lizards  encircling  the 
base  of  the  neck.  Dense  brown-textured  biscuit,  coated 
with  grayish-white  ‘‘  hui-se”  crackle  glaze  of  uniform 
quality. 

Yiian-Ming.  Height  .334  m.  Diameter  .176  m. 

15.  Bowl.  Dense  brown  biscuit.  Interior  and  exterior 
uniformly  glazed  in  soft,  opaque,  neutral-toned  celadon  of 
even  texture. 

Sung  Dynasty.  Height  .086  m.  Diameter  .186  m. 

16.  Small  Jar.  Dark  buff  Cochin-China  biscuit,  orna- 
mented with  incised  fungus  bordering  at  the  shoulder; 
body  fluted;  uniformly  covered  in  turquoise  glaze. 

Ming  Dynasty.  Height  .110  m.  Diameter  .125  m. 

17.  Vase.  Biberon  shape.  Dense  brown-toned  biscuit, 
heavily  coated  in  red  glaze,  streaked  with  gray  and  blue 
ftamh'e  (“  yao-pien’’)  clouding. 

Yiian-Ming.  Height  .241  m.  Diameter. 126  m. 

18.  Small  Jar.  Globular  form  with  small  handles. 
Buff-toned  biscuit,  showing  both  interior  and  exterior 
coated  alike  in  light  neutral  celadon,  minutely  strewn 
with  souffle  flecking. 

Yiian  Dynasty.  Height  .121  m.  Diameter  .161  m. 

19.  Water  Dish.  Shallow  shape.  Dense  ferruginous  body, 
showing  exterior  coated  in  lapis-lazuli  glaze,  with  the  in- 
terior and  underpart  glazed  in  buff-toned  white.  Kuang- 
yao. 

Ming  Dynasty.  Height  .035  m.  Diameter  .123  m. 

20.  Jar.  Melon-shaped  body,  with  ornamental  band  at 
shoulder.  Light  brownish-buff  paste,  coated  in  silicious 
clair  de  lune  glazing,  showing  the  graj^-brown  tone  of  the 
body  where  the  glaze  is  thinnest.  Kuang-yao. 

Ming  Dynasty.  Height  .141  m.  Diameter  .134  m. 


40 


CHINESE  POTTERY 


21.  Figurine.  Dog.  Dense  gray  biscuit,  coated  in  vitreous 
glaze  of  varied  gray  celadon  with  crackle,  and  spots  of  red. 

Yiian-Ming.  Height  .182  m.  Width  .207  m.  x .104  m. 

22.  Jar.  Circular  shape  with  small  handles.  Buff-toned 
biscuit  showing  interior  and  exterior  similarly  coated  in 
pale  pearly-gray  with  lavender  cloudings,  running  into 
heavy  irregular  curves  of  opaque  greenish  tinge  near  the 
base. 

Sung-Yiian.  Height  .118  m.  Diameter  .149  m. 

23.  Vase.  With  spreading  rim.  Hard-textured  brown 
biscuit,  coated  in  brilliant  brown  ‘‘  tzii-chin,’’  or  “ fond 
laque/*  souffle. 

Ming  Dynasty.  Height  .118  m.  Diameter  .084  m. 

24.  Vase.  Graceful  tall  oviform.  Hard-textured  brown 
biscuit,  heavily  coated  in  brilliant  sapphire  blue  glaze 

ch^ieh-tz’ii  ’’),  embodying  cloudings  of  soft  opaque  green 
and  gray  flamhe  effects;  attributed  to  a family  of  potters 
named  Chou.  Ki-chou  yao  (?). 

Sung  Dynasty.  Height  .241  m.  Diameter  .13  m. 

25.  Small  Water  Dish.  Form,  lotus  pod  with  petals, 
bud,  and  stem.  Dense  light-brown  biscuit,  coated  in  pearl- 
gray  with  purplish  flamhe  markings. 

Sung-Yiian.  Height  .058m.  Width. 113m.  x .079m. 

26.  Small  Figurine.  Dog  “ Fu  ” couchant.  Dense  brown- 
toned  biscuit,  covered  with  turquoise  kung-chiio-lii 
glaze. 

Sung  Dynasty.  Height  .05  m.  Width  .092  m.  x .05  m. 

27.  Pilgrim  Bottle.  Circular  shape  with  impressed 
ornaments  in  radial  form,  and  glazed  in  deep  turquoise, 
varied  on  one  side  with  amber-colored  flamhe. 

Yiian-Ming.  Height  .199  m.  Diameter  .175  m. 

28.  Figurine.  Rooster  perched  upon  an  open  rockery. 
Dense  brown  biscuit  picked  out  in  varying  glazes;  bird 


oo^  Lgi  (t;)  991  loi 


DESCRIPTIVE  LIST 


41 


showing  grayish  hui-se’’)  body  and  green  comb,  rocks  in 
clair  de  lune  shade  (“  yueh-pai 

Yuan-Ming.  Height  .216  m.  Width  .175  m.  x .129  m. 

28  (a).  Figurine.  The  Chinese  deity  Kwan-yin  {Avalo- 
kitesvera)  seated;  modelled  in  reddish-toned  pottery  clay 
(Yi-hsing  yao,  also  known  as  hoccaro  ware).  The  face  and 
the  breast  are  painted  with  gold  lacquer  much  exfoliated 
and  stained  from  age ; the  linings  of  the  sleeves  and  of  the 
hood  were  colored  with  red  lacquer  of  which  little  remains. 
The  hair,  the  hood,  and  the  edge  of  the  robe  are  covered 
with  dark  purplish-blue  glaze;  the  jewels  and  the  re- 
mainder of  the  draperies  are  glazed  in  turquoise  blue, 
finely  crackled  and  discolored. 

Yiian-Ming.  Height  .361  m.  Width  .269  m.  x .182  m. 

29.  Small  Brush  Jar  (Pi-Fung).  Ovoid  shape,  encir- 
cled at  the  rim  by  hornless  dragon  (‘‘mang’’).  Light 
brown- textured  biscuit,  coated  with  a typical- “ yueh-pai,’’ 
or  clair  de  lune  glaze,  showing  markings  in  flashing  red, 
with  crackle. 

Yiian-Ming.  Height  .109  m.  Diameter  .098  m. 

30.  Small  Bottle.  Pear-shaped.  Hard-textured  ferru- 
ginous red  biscuit  covered  with  soft-toned  “yueh-pai*’  or 
clair  de  lune  glaze,  of  rare  uniform  quality. 

Sung  Dynasty.  Height  .105  m.  Diameter  .082  m. 

31.  Vase.  Quadrifoliated  shape.  Fine-textured  buff 
paste  covered  with  “yueh-pai”  or  vitreous  clatr  de  lune 
glaze,  showing  delicate  crackle. 

Sung-Yiian.  Height  .132  m.  Diameter  .07  m. 

32.  Vase.  Oblong  body  with  a slender  neck,  showing  a 
relief  palmation  at  the  base.  Uniformly  coated  in  ‘‘  yueh- 
pai’’  (moon-white)  merging  into  lavender-toned  mono- 
chrome of  fine  quality. 

Yiian-Ming.  Height  .173  m.  Width  .121  m.  x .088  m. 


42 


CHINESE  POTTERY 


33.  Water  Jar.  Globular  shape.  Dense  brown  biscuit 
coated  in  cafe  au  lait  tzu-chin  showing  the  fissured 
crackle  (^^po-sui”);  an  early  specimen  of  its  class  with 
spiral  finish  inside.  Kuang-yao. 

Yiian  Dynasty.  Height  .08  m.  Diameter  .124  m. 

34.  Cup.  BufF-toned  biscuit  with  outer  and  inner  surface 
glazed  uniformly  in  “ yueh-pai,”  or  soft  moon-white,  merg- 
ing into  a dewy  pearl-gray  tinge.  Imperial  Kiian  yao. 

Sung  Dynasty.  Height  .045  m.  Diameter  .08  m. 

35.  Small  Jar.  Tripod  form.  Hard-textured  ferruginous 
biscuit  coated  with  a soft  clair  de  lune  or  yueh-pai’’ 
glaze  merging  into  a dewy,  soft,  grayish  tone  suggestive  of 
the  patina  on  old  bronze,  from  which  this  example  appears 
to  have  been  copied.  Kiian  yao. 

Sung  Dynasty.  Height  .087  m.  Diameter  .113  m. 

36.  Bowl.  With  curved  sides.  Dense  brown-textured 
biscuit  with  outer  and  inner  surface  coated  alike  in  pale 
clair  de  lune  glaze  with  transparent  quality  merging  into 
lavender.  Kuang-yao. 

Ming  Dynasty.  Height  .064  m.  Diameter  .135  m. 

37.  Small  Water  Jar.  Globular  shape  with  inverted 
rim;  gray-textured  biscuit  showing  inner  and  outer  sur- 
face covered  alike  with  a soft  ‘‘  yueh-pai  (moon-white) 
merging  into  pearly  grayish  tinge.  Kiian  yao. 

Sung  Dynasty.  Height  .057  m.  Diameter  .073  m. 

38.  Writer’s  Water  Vessel.  Junk-shaped  with  teak 
cover  and  silver  knob.  Dense  brown  biscuit  glazed 
in  pale  celadon  with  gray  clouding. 

Ch’ing  Dynasty.  Height  .054  m.  Length  .119  m. 

39.  Bottle.  Pear-shaped  with  slender  neck.  Dense  light 
brown  biscuit  coated  in  turquoise  kung-chiio-lii  ”) 
changed  by  age  and  use,  and  with  truitee  texture  of  rare 
quality. 

Ming  Dynasty.  Height  .175  m.  Diameter  .084  m. 


DESCRIPTIVE  LIST 


43 


40.  Small  Tripod.  Ancient  form.  Brown  ferruginous 
biscuit  with  outer  and  inner  surface  coated  in  opaque 
gray  glaze  of  pearly  texture.  Kiian  yao. 

Yiian  Dynasty.  Height  .058  m.  Diameter  .072  m. 

41.  Low  Dish.  Wide  globular  form.  Massive  dense 
bulf-toned  biscuit  glazed  in  brilliant  and  rare  ‘‘  she  p’i- 
lii/’  or  snakeskin-green,  likened  also  to  malachite-green; 
interior  unglazed. 

Yiian  Dynasty.  Height  .067  m.  Diameter  .187  m. 

42.  Hanging  Vase.  Flat  shape,  with  handles  for  cord. 
Dense  brown  biscuit  embellished  with  raised  medallions 
in  petal  form,  covered  in  deep  jade-green  color  pi-yii  ”) 
of  rare  iridescent  quality.  Chiin-chou  yao. 

Yiian-Ming.  Height  .113  m.  Width  .071  m.  X .06  m. 

43.  Low  Tripod  Jar.  Globular  shape  with  inverted  rim. 
Buff-toned  biscuit  showing  exterior  coated  with  a soft 
camellia-leaf  green;  closely  crackled  truitee  texture. 

Ch’ing  Dynasty.  Height  .063  m.  Diameter  .140  m. 

44.  Low  Dish.  Wide  shape.  Massive,  buff-toned  biscuit 
coated  in  emerald-green  ta-lii  ”)  glaze  with  manganese 
purple  clouding;  interior  is  unglazed. 

Yiian  Dynasty.  Height  .063  m.  Diameter  .189  m. 

45.  Small  Bottle.  Gourd-shaped.  Dense  brown  bis- 
cuit, coated  in  heavy  plum-colored  glaze,  shading  into 
soft  purplish  tones. 

Sung  Dynasty.  Height  .07  m.  Diameter  .047  m. 

46.  Bottle.  Cylindrical  shape  with  small  neck.  Dense 
brown  biscuit  coated  with  pale  camellia-leaf  green  of 
opaque  quality  showing  uniform  crackle. 

Ming-Ch’ing.  Height  .234  m.  Diameter  .09  m. 

47.  Bottle.  Globular  bottle  with  small  neck  and  han- 
dles. Dense  red  biscuit  coated  in  brilliant  emerald  green 

ta-lii  glaze  with  flashing  iridescence. 

Ming-Ch'ing.  Height  .185  m.  Diameter  .153  m. 


44 


CHINESE  POTTERY 


48.  Small  Vase.  Oviform  with  small  neck.  Buff-toned 
biscuit,  representing  a shagreened  surface  under  a bril- 
liant green  glaze  of  the  ‘‘  lii  ching  tz’ii  (cucumber  rind 
tint). 

Chhng  Dynasty.  Height  .182  m.  Diameter  .104  m. 

49.  Bowl.  With  narrow  base.  Dense  brown  biscuit 
showing  exterior  coated  in  “ kung-chiio-lii,”  dark  tur- 
quoise green  glaze,  with  truitee  crackle  likened  to  fish 
roe.”  Interior  in  pale  turquoise  with  similar  crackle. 

Ming-Chhng.  Height  .069  m.  Diameter  .161  m. 

50.  Cup.  Globular  shape  (edge  ground  down).  Massive 
kaolinic  paste  coated  in  apple-green  glaze  with  crackle. 
A characteristic  example  of  the  Lu  Lang-yao  produced 
at  Ching-te-chen.  Period  of  K’ang-hsi. 

Chhng  Dynasty.  Height  .069  m.  Diameter  .115  m. 

51.  Bottle.  Biberon  shape.  Massive  biscuit  coated  in 
transparent  green  glaze  of  the  typical  fei-ts’ui,”  or  green 
jade  color,  with  slight  variations  of  unique  quality. 

Yiian-Ming.  Height  .241  m.  Diameter  .168  m. 

52.  Small  Jar.  Ovoid  shape  with  metal  rim.  Dense 
brown  biscuit  glazed  in  pale  opaque  green  with  brown 
feuille-morte,  and  variations  and  clouding  near  base. 

Sung-Yuan.  Height  .085  m.  Diameter  .084  m. 

53.  Bottle.  Gourd  shape.  Dense  brown  biscuit  uni- 
formly covered  with  a copper-toned  glaze,  showing  the 
‘‘iron  rust”  souffle  (‘‘ t’ich-siu  ”)  in  rare  perfection.  Era 
of  K^ang-hsi. 

Chhng  Dynasty.  Height  .133  m.  Diameter  .106  m. 

54.  Figurine.  Dog  Fu.  Dense  brown  biscuit  covered 
in  typical  “ iron  rust” souffle  (“  P ich-siu  ”)  of  even  texture. 

Chhng  Dynasty.  Height  .194  in.  Width  .111  m.  x 
.085  m. 

55.  Bottle.  Biberon  shape.  Semi-kaolinic  paste  coated 
in  bronze-toned  “Fich-siu”  glaze  with  speckling  like  par- 


DESCRIPTIVE  LIST  45 

tides  of  iron  dust;  rare  mottled  effect.  Period  of 
K’ang-hsi. 

Ch’ing  Dynasty.  Height  .158  m.  Diameter  .089  m. 

56.  Small  Vase.  Gourd  shape.  Dense  brown  biscuit 
coated  in  copper-toned  ‘‘t’ich-siu’’  glaze,  with  souffle  speck- 
ling like  particles  of  iron  dust,  of  uniform  texture. 
K’ang-hsi  period. 

Ch’ing  Dynasty.  Height  .119  m.  Diameter  .095  m. 

57.  Vase.  Oviform.  Dense-textured  brown  biscuit,  cov- 
ered with  variegated  tones  of  “ kung-chiio-lii,”  or  tur- 
quoise, involving  cloudings  of  dark  and  pale  green. 

Ming  Dynasty.  Height  .194  m.  Diameter  .087  m. 

58.  Water  Dripper.  Pilgrim  bottle  shape.  Dense-tex- 
tured brown  biscuit  with  incised  design  at  edges;  glazed 
in  brilliant  green  emerald  shade  (“  ta-lii  Kuang-yao. 

Yiian-Ming.  Height  .163  m.  Width  .108  m. 

59.  Jar.  Ancient  globular  form  with  small  handles. 
Dense  brown  biscuit,  coated  with  pale  celadon  glaze  em- 
bodying purplish-red  clouding  with  crackle.  Kuang-yao. 

Sung-Yiian.  Height  .154  m.  Diameter  .187  m. 

60.  Vase.  Oviform.  Dense  brown  biscuit,  coated  with 
purplish  flamhe  yao-pien  ”)  showing  flecking  of  pale 
green  and  blue  with  soft  iridescent  quality.  Kuang-yao. 

Yiian-Ming.  Height  .213  m.  Diameter  .187  m. 

61.  Shallow  Dish.  Quadrifoliated  shape.  Dense  stone- 
ware glazed  in  purplish  flamhe  yao-pien  showing 
gray  and  blue  flecking. 

Ch’ing  Dynasty.  Height 
.186  m. 

62.  Small  Bottle.  Biberon  shape.  Dense  brown 
biscuit,  coated  in  light  clair  de  lune  verging  on  pale 
turquoise.  Chiin  yao. 

Sung-Yiian.  Height  .131  m.  Diameter  .067  m. 


065.  Diameter  .220  m.  x 


46 


CHINESE  POTTERY 


63.  Brush  Holder.  Form  of  small  screen.  Buff-toned 
Cochin-China  biscuit,  molded  with  figures  and  other  or- 
namentation to  serve  as  a holder  for  writing  brushes; 
glazed  in  green  and  yellow. 

Ming  Dynasty.  Height  .188  m.  Width  .214  m.  x 
.073  m. 

64.  Round  Tile.  Massive  Ming  biscuit,  coated  in  typical 

imperial  yellow’’  glaze  and  decorated  with  a five-clawed 

dragon  molded  in  strong  relief;  period  of  Yung-lo 
(1403-1424). 

Ming  Dynasty.  Diameter  .191  m. 

65.  Vase.  Oviform  with  handles.  Buff-toned  Cochin- 
China  biscuit,  showing  raised  ornamentation,  including 
the  rampant  ‘‘  lung”  (dragon),  glazed  in  yellow  and 
posed  against  a turquoise  body  color. 

Ming  Dynasty.  Height  203  m.  Diameter  106  m. 

66.  Vase.  Oviform,  with  floral  handles.  Soft  brown- 
toned  Cochin-China  faience,  showing  the  body  in  deep 
amber-yellow  glazing,  and  the  handle  picked  out  in  green 
and  yellow. 

Ming  Dynasty.  Height  .178  m.  Diameter  .112  m. 

67.  Bottle.  Biberon  shape.  Massive,  brown-toned  bis- 
cuit, coated  in  delicate  ‘‘  robin’s  egg”  blue  glaze,  with 
souffle  speckling  in  lighter  tints,  finishing  near  the  base 
in  curved  lines.  Period  of  K’ang-hsi. 

Ch’ing  Dynasty.  Height  .312  m.  Diameter  .155  m. 

68.  Small  Vase.  Graceful  oviform.  Dense  buff-toned 
biscuit,  glazed  in  manganese  purple  ch’ieh  tz’u  ”)  with 
the  ‘‘  jointed”  neck  glazed  in  “ kung-chiio-lii”  (turquoise). 
The  interior  is  coated  in  yellow. 

Yiian-Ming.  Height  .172  m.  Diameter  .07  m. 

69.  Small  Jar.  Ovoid  shape  with  cover.  Light  buff- 
toned  biscuit,  covered  in  deep  amber-colored  glaze. 

Ch’ing  Dynasty.  Height  .095  m.  Diameter  .078  m. 


DESCRIPTIVE  LIST  47 

70.  Small  Jar.  Similar  to  preceding,  slightly  darker  in 
amber  tone. 

Ch’ing  Dynasty.  Height  .09  m.  Diameter  .076  m. 

71.  Large  Vessel.  On  its  own  stand;  form  of  pome- 
granate fruit.  Massive  buff-toned  biscuit,  body  glazed 
in  pale  manganese  purple  and  with  stems  and  foliage 
picked  out  in  green;  the  stand  is  glazed  in  purple  and 
green. 

Ming  Dynasty.  Height  .138  m.  Width  .200  m.  x 
.209  m. 

72.  Small  Bottle.  Biberon  shape.  Dense  brown  biscuit 
covered  in  dark  plum-colored  glaze  mei-hui-ch’ing  ; 
interior  of  neck  in  green. 

Yiian  Dynasty.  Height  .079  m.  Diameter  .057  m. 

73.  Bottle.  Pear-shaped  with  small  handles  at  the  neck. 
Dense  brown-toned  biscuit,  studded  with  raised  blossoms 
that  are  picked  out  alternately  in  purple  and  yellow,  against 
the  turquoise  (“  kung-chuo-lii  body  glazing. 

Yiian-Ming.  Height  .134  m.  Diameter  .057  m. 

74.  Vase.  Quadrilateral  shape  with  attached  base  and 
rudimentary  lion-head  and  ring  handles.  Massive  buff- 
toned  biscuit,  coated  in  dark  amber  glaze  of  brilliant 
texture. 

Ming  Dynasty.  Height  .201  m.  Width  .069  m.  x 
.069  m. 

75.  Vase.  Quadrilateral,  similar  to  the  preceding. 

Ming  Dynasty.  Height  .202  m.  Width  .067  m.  x 

.067  m. 

76.  Bowl.  Dense  brown  biscuit  partly  coated  in  thick 
running  celadon  glaze  with  flamhe  shading. 

Yiian-Ming.  Height  .051  m.  Diameter  .113  m. 


48 


CHINESE  POTTERY 


77.  Two  Small  Flat  Dishes.  Saucer-shaped.  Dense 
brown  biscuit  coated  in  variegated  clair  de  lune  glaze  of 
the  flamhe  variety. 

Yiian  Dynasty.  Height  .019  m.  Diameter  .092  m. 

78.  Bowl.  “ Mo-Ting  ’’  with  copper  rim.  Black  biscuit, 
covered  in  unctuous  black  enamel  with  the  characteristic 
lustre  and  texture  of  old  lacquer,  ending  in  curved  lines 
and  thick  drops  near  the  narrow  base.  Ascribed  to  the 

T’ang  Dynasty.  Height  .076  m.  Diameter  .127  m. 

79.  Bowl.  U-ni  yao  (raven’s  wing  pottery).  Dark  ferrugi- 
nous brown  biscuit,  coated  in  lustrous  black  enamel,  with 
bluish  streaking  and  iridescence,  showing  the  “ iron- 
colored  rim”  through  the  glaze,  the  foot  bearing  an  in- 
cised mark  “ Ta”  (lit.  “great”). 

T’ang-Sung.  Height  .071  m.  Diameter  .166  m. 

With  typical  old  black  lacquer  stand. 

80.  Bowl.  With  metal  rim.  T’u-hao  or  “ hare’s  fur” 
glaze.  Black  Ch’ien  yao;  interior  and  exterior  show- 
ing a lustrous  black  enamel  with  yellowish  speckling 
and  iridescence. 

Northern  Sung  Dynasty.  Height  .07  m.  Diameter 
.119  m. 

81.  Bowl.  Ch’ien  yao.  T’u  hao  without  metal  rim. 
Interior  and  exterior  showing  a brown  “hare’s  fur” 
glaze  of  unusual  texture  and  color. 

Northern  Sung  Dynasty.  Height  .065  m.  Diameter 
.127  m. 

82.  Bowl.  With  narrow  base  and  silver  rim.  Dense 
black  Sung  biscuit  coated  in  brilliant  black  enamel 
with  bluish  iridescent  speckling,  resembling  tints  on  the 
breast  of  a partridge  {perdrix  cinered)\  hence  known  as 
a “partridge  bowl.”  A characteristic  example  of  Ch’ien 
yao. 

T’ang-Sung.  Height  .069  m.  Diameter  .123  m. 


DESCRIPTIVE  LIST 


49 


82  (a).  Small  Water  Jar.  Hard-textured  grayish-brown 
paste,  showing  wheel  and  tool’’  marks;  coated  with 
brilliant  black  glaze  which  shows  bluish  and  yellow  deck- 
ings at  the  rim  and  inside  of  the  neck  where  it  is  thin,  and 
ends  in  long  irregular  drops  toward  the  base  where  it  is 
supplemented  by  a clear  ruddy-brown  glaze  with  silvery 
iridescence. 

T’ang-Sung.  Height  .094  m.  Diameter  .099  m. 

82  (b).  Bowl.  Conical  shape,  small  base.  Fine-textured 
grayish  biscuit,  coated  with  a glaze  resembling  black 
lacquer  which  shows  brown  where  it  is  thin  at  the  rim 
and  the  foot.  The  interior  bears  the  impression  of  an 
autumn  leaf  in  russet,  blue,  and  yellow.  Repaired. 
Possibly  Japanese.  Possibly  Chien-yao  of  the 

Sung  Dynasty.  Height  .051  m.  Diameter  .154  m. 

83.  Vase.  Graceful  oviform.  Dense  brown  biscuit  coated 
with  a purplish  flambe  yao-pien  ”)  glaze,  showing  gray- 
ish celadon  tones  towards  the  base.  The  foot  bears  an  in- 
cised potter’s  seal  mark  ‘‘  Ko  Ming-hsing.”  Kuang-yao. 

Ming  Dynasty.  Height  .274  m.  Diameter  .155  m. 

84.  Jar.  Globular  shape.  Red-toned  biscuit,  glazed  in 
copper-brown  with  an  early  example  of  the  “ engobe” 
embellishment,  in  the  form  of  archaic  dragons,  slightly 
raised,  in  pale  chamois  tint. 

Yiian  Dynasty.  Height  .127  m.  Diameter  .15  m. 

85.  Large  Vase.  Baluster  form.  Ferruginous  pottery, 
coated  with  deep  vitreous  green  monochrome  glaze 
(the  camellia-leaf  green  tone)  of  uniform  texture  with 
crackle. 

Ming  Dynasty.  Height  .418  m.  Diameter  .189  m. 

86.  Large  Bottle.  Biberon  shape.  Dense  buff-toned 
biscuit  showing  wheel  and  tool  marks  and  coated  in  deep 
lapis-lazuli  glaze  of  even  texture. 

Ming  Dynasty.  Height  .254  m.  Diameter  .157  m. 

4 


50 


CHINESE  POTTERY 


87.  Bottle.  Biberon  shape.  Gray-toned  biscuit,  coated 
in  light  clair  de  lune  glaze,  with  flamhe  effects. 

Yiian  Dynasty.  Height  .21  m.  Diameter  .151  m. 

88.  Large  Vase.  Biberon  shape,  with  rudimentary 
handles.  Dense  gray  biscuit,  glazed  in  dark  mazarine-blue 
monochrome  with  grayish  shading  and  strong  crackle. 

Ming  Dynasty.  Height  .35m.  Diameter  .232  m. 

89.  Jar.  Globular  shape.  Buff-toned  biscuit,  showing 
three  striated  rings,  glazed  in  monochrome  blue  of  bril- 
liant quality. 

Ming  Dynasty.  Height  .109  m.  Diameter  .226  m. 

90.  Jar.  Ovoid  shape  with  teak-wood  cover.  Thin 
brown  biscuit  with  fluted  band  at  shoulder,  glazed  in 
dark  amber  color. 

Ming  Dynasty.  Height  .188  m.  Diameter  .194  m. 

91.  Jar.  Ovoid  form.  Dense  brown  biscuit,  coated  in 
variegated  running  glaze,  with  the  ‘‘  tea  dust’’  soufjlL 

Yiian-Ming.  Height  .137  m.  Diameter  .169  m. 

92.  Large  Bottle.  Pear-shaped  with  cylindrical  neck. 
Kaolinic  paste  glazed  in  warm  olive  souffle,  speckled  with 
light  feuille-morte  of  even  texture.  Ch’ien-lung  period. 

Ch’ing  Dynasty.  Height  .33  m.  Diameter  .245  m. 

93.  Jar.  Ovoid  form,  with  raised  “lizard”  in  relief  at 
the  neck.  Dense  light  buff  biscuit,  coated  in  a striking 
clair  de  lune  glaze,  which  shows  red  and  purple  flamhe 
clouding  with  greenish  speckling  on  the  upper  section. 

Yiian  Dynasty.  Height  .165  m.  Diameter  .151  m. 

94.  Low  Jar.  Globular  form,  with  raised  ‘‘  mang”  at 
the  rim.  Buff  biscuit,  the  outer  and  inner  surfaces  coated 
in  deep  turquoise  kung-chiio-lii  ”)  merging  into  deeper 
shades  near  the  base,  and  showing  a deep  red  flamhe 
cloud. 

Yiian  Dynasty.  Height  .079  m.  Diameter  .144  m. 


DESCRIPTIVE  LIST 


51 


95.  Bottle.  Biberon  shape.  Dense  bufF-toned  biscuit 
with  brown-colored  foot;  coated  in  turquoise  glaze  with 
brilliant  black  decoration,  i.  e.,  a medallion,  involving 
figure,  birds,  and  floral  motives  in  foliated  panels,  finished 
with  borders.  Ch’eng-hua  period. 

Ming  Dynasty.  Height  .270  m.  Diameter  .153  m. 

96.  Small  Jar.  Ovoid  shape  with  cover.  BufF-toned 
biscuit,  coated  in  “ iron  rust”  souffle  of  even  texture. 

Ch’ing  Dynasty.  Height  .131  m.  Diameter  .113  m. 

97.  Bottle.  Square  shape,  with  lizard  at  the  neck.  Gray 
paste,  coated  in  brown-olive  tone  with  “ ch’a  yeh  mo,” 
or  tea-dust  souffle.  Yung-ch’eng  period. 

Ch’ing  Dynasty.  Height  .159  m.  Diameter  .076  m. 

98.  Figurine  (Chim^era).  Seated  Dog  Fu.  Dense 
kaolinic  paste  coated  in  polychromatic  glaze,  i.  e.^  lapis- 
lazuli  body  with  turquoise  mane  and  tail,  and  yellow 
bell. 

Ming  Dynasty.  Height  .254  m.  Width  .22  m x .109  m. 

99.  Large  Bottle.  Pear-shaped  with  cylindrical  neck. 
Kaolinic  paste  covered  with  a brown-olive  monochrome 
souffle  known  technically  as  ‘‘  tea-dust”  glaze,  or  feuille- 
morte,  of  even  texture;  six  marks  incised  at  the  foot; 
Ch’ien-lung  period. 

Ch’ing  Dynasty.  Height  .333  m.  Diameter  .255  m. 

100.  Low  Dish.  Shallow  form.  Reddish-bufF  biscuit, 
heavily  glazed  in  clair  de  lune  of  light  and  varied  texture, 
ending  in  thickening  curves  on  the  outside  and  showing 
iron  tone  at  the  rim. 

Yiian  Dynasty.  Height  .048  m.  Diameter  .211  m. 

101.  Large  Jar.  Broad  oviform,  with  original  bell- 
shaped cover.  Dense  grayish  paste,  showing  a uniform 
ground  glaze  in  deep  lapis-lazuli  blue,  with  superposed 
chamois-toned  “ slip”  decoration,  involving  four  boldly 
rendered  winged  dragons  and  nebulae.  The  shoulder 


52 


CHINESE  POTTERY 


sustains  an  escaloped  border  with  floral  details,  and  the 
base  is  encircled  by  vertical  leaf  forms. 

Ming  Dynasty.  Height  .441  m.  (with  cover).  Diameter 

•332  m. 

IQ2.  Cup.  Ku-t’au-pan-ho,  or  “ giant  peach-stone  half.”  ^ 
Red  brown  biscuit.  Exterior  molded  and  in  biscuit 
state;  the  interior  shows  speckled  clair  de  lune  glazing. 
The  inscription  on  rim  gives  maker’s  name : Ai-hien-lau- 
jen,  ‘‘old  man  loving  leisure”  (a  pseudonym),  and  date, 
Keng-tzi,  second  year  of  the  Siian-ho  period  of  Hui-T’sung 
(about  1120  A.  D.).^ 

Yiian-Ming.  Height  .028  m.  Width  .083  m.  x .111  m. 

103.  Small  Bottle.  Ovoid  shape.  Kaolinic  biscuit, 
coated  in  brown-toned  ‘‘iron-rust”  (“  t’ich-siu  ”)  glaze 
of  rare  and  even  texture. 

Ch’ing  Dynasty.  Height  .105  m.  Diameter  ,062  m. 

103  (a).  Vase.  Oviform  with  flaring  neck  bearing  a 
coiled  dragon  in  free  relief.  Hard  gray  stoneware  invested 
with  olive  brown  glaze  running  in  irregular  filmy  mottling, 
and  showing  numerous  ferruginous-colored  spots  where  it 
does  not  entirely  cover  the  biscuit.  The  lower  body  sus- 
tains two  slightly  raised  “ch’i-lin,”  couchant^  carefully 
modelled  in  the  paste  and  glazed  in  pale  celadon.  The 

^ The  fifth  book  of  the  “T’ao-shuo’’  describes  similar  cups  as  ‘*ho- 
cheng-pei’*  (molded  in  form  of  twin  peaches),  and  other  ancient  ritual 
books  allude  to  their  use  at  marriage  ceremonies.  In  remote  periods  they 
were  carved  from  shell  or  from  gourds,  but  in  more  modern  times  they  were 
made  in  hard  stone,  gold,  silver,  or  pottery. 

The  “ Fang-shi-mo-p’u,”  a book  on  ink-stones,  also  refers  to  such  a cup 
as  “ Ku-t*au-pan-ho,”  or  ‘'giant  peach-stone  half,’*  and  adds  that  one  was 
said  to  have  been  preserved  in  the  imperial  treasury  (probably  the  Siian-ho 
palace)  of  the  Yiian  dynasty.  No.  loz  described  above  appears  to  be  a 
copy  in  pottery. 

^ The  other  inscriptions  read  “ Si-wang-mu  (a  fairy  queen)  bestows  on 
Han  Wu-ti  a peach  (fabled),  Suan-ho  palace.” 


4 


DESCRIPTIVE  LIST  53 

interior  of  the  neck  and  the  foot  panel  are  glazed  in  brown 
with  clouding  of  lighter  tone.  Ascribed  to  the 

Ming  Dynasty.  Height  .372  m.  Diameter  .227  m. 

103  (b).  Large  Jar.  Broad  oviform,  with  teak-wood 
cover.  Hard  reddish-buff  biscuit,  decorated  with  outlines 
in  relief  originally  filled  with  various  colored  glazes  (tur- 
quoise, ivory,  lavender,  and  buff)  which  are  now  much 
exfoliated.  The  ground  glaze  is  deep  purplish  blue. 
The  relief  decoration  consists  of  a conventional  panelled 
border  at  the  base;  above  that  horsemen  riding  to  the 
“Temple  in  the  Clouds’’;  at  the  shoulder  clouds  and 
lotus  blossoms  enclosed  between  a waved  border  and  a 
smaller  rendering  of  the  border  at  the  foot;  at  the  neck 
clouds. 

Yiian-Ming.  Height  .352  m.  Diameter  .352  m. 

Group  of  Celadons  (Ch’ing-tz’u) 

The  massive  stoneware  glazed  in  the  pellucid  mono- 
chrome green  of  unctuous  and  sonorous  quality,  termed 
cJiing-t%u  by  the  Chinese  and  generally  known  to  the 
Western  world  as  celadon,  while  not  the  most  ancient  green- 
colored  glaze  extant,  can  according  to  Chinese  ceramic 
records,  be  referred  back  to  the  beginning  of  the  seventh 
century.  It  was  first  made  in  the  short  dynasty  of  Sui 
(A.  D.  581-617).  In  the  succeeding  dynasty  — the  T’ang 
(A.  D.  618-906)  — this  very  remarkable  ware  was  produced 
in  much  greater  quantity  than  any  other  pottery,  and  ac- 
cordingly it  readily  found  its  way  into  many  remote  parts 
of  the  Eastern  countries.  Ancient  documents  disclose 
that  the  Arabs  invaded  the  Eastern  seas  of  China  in  those 
early  centuries  and  carried  back  this  product  of  China 
to  the  shores  of  the  Red  Sea  and  to  India,  to  the  Persian 
Gulf  and  to  the  African  coast,  where  (especially  in  Persia 
and  Arabia)  it  became  known  as  “ martibani,”  and  was 
extensively  copied. 


54 


CHINESE  POTTERY 


Among  the  other  Eastern  nations  in  the  early  appreciation 
of  celadon  from  the  Middle  Kingdom,  was  Japan.  There  the 
original  Chinese  celadon  objects,  and  even  some  later  types, 
have  always  been  held  as  priceless  heirlooms.  Under  the 
name  of  seiji^^  they  inspired  the  Japanese  potters  and 
served  to  stimulate  their  art,  particularly  in  the  ninth  and 
tenth  centuries. 

Apart  from  its  highly  interesting  historical  considerations, 
ancient  celadon  ware  (chhng-tz’u)  improves  with  acquaint- 
ance, just  as  do  other  objects  that  possess  the  quality  of  true 
artistic  merit,  and  in  the  best  or  rarer  celadon  examples  of 
former  dynasties,  we  have  such  quality  in  a superlative  de- 
gree. When  we  note  the  soft  texture  of  the  light  green  glaze, 
with  its  indescribable  peculiarities,  we  agree  with  the  native 
writers  who  referred  to  it  as  resembling  the  delicate  greenish 
tint  of  fresh  onion  sprouts  (ts’ung-chhng).  Another  variety 
(yii-chhng  t’ao)  is  likened  by  them  to  the  color  of  polished 
light  green  jade,  and  still  another  variety  (Lung-chTan), 
more  pronounced  in  its  shade  of  green,  is  likened  to  new 
grass.  See  No.  104. 

The  essential  quality  and  beauty  of  Chinese  celadon  lies 
in  the  wonderful  investure  of  the  glaze,  and  its  soft-textured 
brilliancy,  combined  with  a certain  unctuous  surface.  These 
are  the  inimitable  characteristics  to  be  noted  on  the  best 
varieties;  probably  the  nearest  approach  to  them  among  the 
innumerable  attempts  at  imitation,  is  to  be  found  in  the 
Persian  “ martibani’’  of  the  sixteenth  or  seventeenth  century. 
It  was  the  potter’s  highest  aim  in  China,  during  almost  every 
period,  to  reproduce  one  of  the  more  famous  ancient  celadon 
types,  particularly  the  Ho-yao  of  the  T’ang  dynasty,  or  the 
‘‘  chia-yii-ki,”  which  did  not  exist  after  the  Sung.  Aside 
from  these,  other  interesting  types  are  known  from  the  Sung 
dynasty,  i.  e.,  Jii-yao,  Kiian  yao,  Chiin-chou  yao,  Ko-yao, 
Chang-yao,  and  Lung-ch’iian  yao.  See  Nos.  106,  109,  117, 
and  1 19. 

Although  the  so-called  Kiian  yao  (“  official”  or  ‘‘  imperial 
ware  ”)  was  later  produced  in  celadon  at  Ching-te-chen 


DESCRIPTIVE  LIST 


55 


during  the  Ming  dynasty,  and  also  under  the  earlier  em- 
perors of  the  Ch’ing  dynasty,  such  reproductions  were  gen- 
erally porcelain,  while  the  older  celadon  types  are  vitrified 
stoneware  with  clear  timbre.  The  latter  have  often  been 
mentioned  in  ceramic  texts  as  porcelain,  but  the  old  Kiian 
yao  is  thick  and  gritty  in  its  paste  and  therefore  quite  distinct 
from  later  products. 

104.  Small  Bowl.  Lung-ch’iian  yao.  Dense  brown 
biscuit,  with  the  interior  and  exterior  coated  uniformly 
in  typical  celadon  glaze  known  as  ‘‘ ts’ung-lii’’  or  onion 
green. 

Sung  Dynasty.  Height  .046  m.  Diameter  .125  m. 

105.  Large  Bowl.  Dense  brown  biscuit,  interior  and 
exterior  glazed  in  light-toned  celadon  of  uniform 
soft  satin-like  texture  and  with  giant  crackle.  Ch’ing- 
tz’u. 

Yiian  Dynasty.  Height  .096  m.  Diameter  .196  m. 

106.  Bottle.  Gourd  shape.  Ferruginous  biscuit,  show- 
ing scroll  and  floral  motives  in  slight  relief  under  the 
pellucid  celadon  glazing,  with  soft  brownish  shading  and 
crackle;  iron-color  applied  on  foot.  Lung-ch’iian  ch’ing- 
tz’u. 

Yiian  Dynasty.  Height  .343  m.  Diameter  .166  m. 

107.  Large  Plaque.  Octagonal  shape.  Ch’ing-tz’u  of 
sonorous  timbre  and  ferruginous  paste,  presenting  a 
slightly  raised  floral  border  embellishment  under  a pel- 
lucid celadon  glaze;  with  “iron-colored”  ring  at  the  foot. 
Jung-yao. 

Sung-Yiian.  Height  .07  m.  Diameter  .367  m. 

108.  Water  Jar.  Globular  form,  small  modeled  figure 
in  free  relief  near  rim.  Dense-textured  brown  paste, 
coated  outside  and  inside  with  giant  crackle  celadon  glaze; 
face  of  figure  shown  in  the  biscuit  state. 

Ming  Dynasty.  Height  .095  m.  Diameter  .123  m. 


56 


CHINESE  POTTERY 


109.  Vase.  Pear-shaped.  Brown  ferruginous  biscuit,  with 
slightly  raised  floral  modeling  under  the  pellucid  cela- 
don glazing.  Lung-ch’iian  type. 

Sung-Yiian.  Height  ,171  m.  Diameter  .108  m. 

no.  Bowl.  With  narrow  base.  Dense  brown  paste,  the 
outer  surface  molded  in  slight  relief  to  resemble  the 
petals  or  calyx  of  a lotus  and  like  the  interior,  uniformly 
covered  in  soft  celadon  glaze.  Iron-colored  rim,  partly 
unglazed.  Ch’ing-tz’u. 

Yiian  Dynasty.  Height  .063  m.  Diameter  .162  m. 

111.  Vase.  Oviform,  with  flaring  and  escaloped  rim. 
Massive  biscuit  showing  raised  embellishments  in  border 
form,  under  a pellucid  celadon  crackle  glazing.  Iron 
color  at  foot.  Ch’ing-tz’u. 

Yiian  Dynasty.  Height  .209  m.  Diameter  of  rim  .1 18  m. 

1 12.  Bowl.  Ch’ing-tz'u.  Fine-textured  paste,  interior 
and  exterior  glazed  alike  in  pale  celadon  of  even  texture. 

Yiian-Ming.  Height  .076  m.  Diameter  .166  m. 

1 13.  Bottle.  Globular  body.  Dense  kaolinic  paste, 
with  raised  palmation  and  invested  with  celadon  glaze  of 
uniform  texture.  Ch’ing-tz’u. 

Ming  Dynasty.  Height  .224  m.  Diameter  .117  m. 

1 14.  Jar.  Conical  shape.  Massive  ferruginous  biscuit, 
showing  a series  of  linear  wheel  marks  under  the  vitreous 
and  crackled  celadon  glazing,  with  “iron  colored”  foot. 
Lung-ch’iian  yao. 

Yiian  Dynasty.  Height  .207  m.  Diameter  .195  m. 

1 15.  Bowl.  Narrow  base  and  curved  sides.  Kaolinic 
paste,  the  outer  surface  showing  overlapping  palmation 
design,  coated  like  the  interior  in  soft-toned  celadon 
glaze.  Ch’ing-tz’u. 

Yiian  Dynasty.  Height  .079  m.  Diameter  .175  m. 


DESCRIPTIVE  LIST 


57 


116.  Large  Jar.  Globular  shape,  with  two  small  rudi- 
mentary handles.  Dense  red-toned  ferruginous  biscuit, 
exterior  and  interior  uniformly  coated  in  vitreous  celadon 
glaze  with  crackle,  merging  into  light  clouding  of  purplish 
and  amber  tones,  and  showing  the  ‘‘  iron  color’’  at  the 
rim  and  at  the  foot.  Lung-ch’iian  yao. 

Sung  Dynasty.  Height  .267  m.  Diameter  .291  m. 

11 7.  Large  Jar.  Oviform.  Sonorous  ferruginous  bis- 
cuit, glazed  in  characteristic  celadon  (ch’ing-tz’ii)  of  unc- 
tuous texture  with  a crackle,  shading  into  brown  tones 
near  the  base;  interior  in  similar  glaze  shows  an  incised 
studio  or  hall  mark  (‘‘ch’en”).  The  upper  rim  and  the 
ring  of  the  base  show  the  brown  iron  color.”  Panel  of 
foot  is  deeply  sunken  and  also  glazed  in  celadon.  Real 
Kiian  yao.  - 

Yiian  Dynasty.  Height  .227  m.  Diameter  .343  m. 

1 18.  Bottle.  Oviform  with  small  neck.  Ferruginous 
biscuit,  invested  with  incised  scroll  motives;  glazed  in 
vitreous  celadon  (ch’ing-tz’u)  with  reddish-brown  tinged 
crackle.  Kiian  yao. 

Sung-Yiian.  Height  .241  m.  Diameter  .173  m. 

1 19.  Tall  Vase.  Jii-chou  yao.  Ovoid  body  and  tubular 
neck,  showing  a wavy  collarette  at  shoulder,  with  a row 
of  eleven  molded  figures.  The  upper  section  is  striated 
and  also  bears  small  superposed  relief  ornamentation, 
i.  e.y  lizards,  serpents,  and  turtles,  with  other  emblems  of 
Buddhism.  The  whole  is  coated  in  pale  celadon  glaze, 
which  terminates  thinly  near  the  base,  where  the  dense 
brown-buff  paste  is  shown  in  biscuit  state. 

Sung  Dynasty.  Height  .389  m.  Diameter  .118  m. 

119(a).  Tall  Vase.  Beaker  shaped.  Hard-textured  gray 
paste  of  the  tzu-k^ ou-tich-tsu  variety,  or  so-called  “ iron- 
colored  foot  and  rim”;  coated  uniformly  in  celadon  glaze 
of  brilliant  quality,  crackled.  The  decoration  (incised 
and  in  low  relief)  consists  of  fluting  near  the  base  and 


58 


CHINESE  POTTERY 


freely-drawn  peonies  on  the  body  and  the  neck,  with 
simple,  transverse,  subdividing  lines. 

Ming  Dynasty.  Height  .491  m.  Diameter  .208  m. 

White  Sung  and  Yuan  Pottery 

The  preeminent  white-glazed  Sung  pottery  types  known 
to  collectors  as  T’u  Ting  tz’ii,  and  Fen  Ting  yao,  are  among 
the  oldest  ceramic  achievements  extant  to-day.  Although 
reproduced  in  every  succeeding  period,  the  original  models 
have  held  their  rank  among  pottery  or  porcelain  treasures 
as  the  7ie  plus  ultra  of  their  class. 

Among  other  objects  produced  were  dishes  and  bowls,  the 
latter  of  conical  shape,  with  wide  flaring  rims  and  narrow 
bases.  These  bowls,  whether  made  under  the  Sung  or  the 
Yuan  dynasties,  are  found  only  at  long  intervals.  Much  of 
their  excellence  is  owing  to  skillful  manipulation  of  the  paste, 
and  their  thinness  or  transparency  in  a measure  explains 
the  esteem  in  which  they  have  been  held  by  virtuosi.  Some 
of  these  products  of  the  early  Sung  were  presumably  green- 
ish or  bluish-white,  others  are  described  in  native  literature 
as  resembling  the  “mutton  fat’’  tinge  of  polished  jade,  and 
still  another  type  known  as  Fu-chien  (Fu-kien)  shows  the 
soft  white  color  of  rice.  The  paste  is  often  of  a fine  grayish- 
white  texture  with  engraved  or  slightly  raised  embellish- 
ment. The  later  Fen  Ting,  or  White  Ting,  is  more  kaolimc 
in  its  composition,  and  has  been  reproduced  in  egg  shell 
porcelain  in  the  succeeding  Ming  and  Ch’ing  dynasties. 
The  white  Shu  fu  yao,  used  by  the  court  during  periods  of 
mourning,  and  the  Nan  Ting  yao,  present  very  little  if  any 
appreciable  difference.  Yet  considerable  difference  may  be 
noted  between  the  earlier  (Sung  or  Yiian)  Ting  ware  and 
the  later  Fu-chien  product  generally  known  by  the  French 
amateur  as  ^^hlanc  de  Chinel^  Although  also  made  at  the 
Te-hua  kilns,  the  earlier  types  possess  a more  wonderful 
satin-like  texture  than  is  found  in  the  Ming  examples; 
with  the  further  difference  that  later  in  this  era,  such  product 


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f-  ' ^ 


DESCRIPTIVE  LIST 


59 


became  essentially  porcelain,  and  the  character  of  the  paste 
was  changed  from  a creamy  soft  texture  to  a bluish-white 
hard  one.  In  Fu-chien  province,  at  the  Chhen-yang-fu 
kilns  was  made  another  white  product,  which  shows  a gray- 
brown  body  glazed  in  lustrous  cool-toned  white  enamel 
with  crackle.  This  ware  is  referred  to  in  the  annals  as  made, 
together  with  certain  black  bowls,  during  the  Sung  dynasty. 
Both  types  are  shown  in  the  present  collection.  See  Nos. 
152  (white);  78  and  79  (black). 

The  buff  white  Tu  Ting  tz’u  which  was  made  under  the 
Sung  in  the  northern  Chihli  province,  anciently  called 
Pechili,  was  a sort  of  fine  stoneware,  although  described  as 
thin.  It  often  showed  delicately  modeled  embellishments 
in  slight  relief,  or  in  ‘‘slip”  enamel,  especially  the  peony 
(hsiian  ts’ao),  the  lotus  blossom  (lien-hua),  the  flying 
phoenix  (fei-feng),  and  the  two  allegorical  carp  (fu).  See 
Nos.  122,  125,  and  128. 

The  metal  rim  generally  found  on  these  varieties  of  early 
white  ware  should  perhaps  be  explained.  The  plates  and 
bowls  were  placed  bottom  upwards  in  the  kilns,  a position 
which  would  not  allow  the  fine  edged  rim  to  be  glazed 
though  the  rest  of  the  dish  were  covered  with  glaze.  To 
correct  the  unfinished  appearance  caused  by  this  peculiarity 
of  glazing  and  firing  a small  narrow  copper  or  silver  band 
was  carefully  applied  to  the  rim. 

120.  Shallow  Bowl.  Wide  conical  shape.  Gray-toned 
biscuit,  glazed  in  pale  ivory  white,  repaired  with  gold 
lacquer.  T’u  Ting  yao. 

Sung  Dynasty.  Height  .064  m.  Diameter  .20  m. 

121.  Small  Figurine.  Lion  with  grotesque  rider.  Dense 
buff-toned  paste,  glazed  in  warm  gray  tone.  T’u  Ting 
yao. 

Sung  Dynasty.  Height  .098  m.  Width  .075  m.  X .051  m. 

122.  Bowl.  Conical  shape  with  copper  rim.  Fine- 
textured  paste  invested  with  a warm  ivory-toned  white, 


6o 


CHINESE  POTTERY 


with  crackle.  Interior  shows  delicately  incised  motive 
of  lotus  blossoms  and  two  carp.  Fen  Ting  yao. 

Yuan  Dynasty.  Height  .086  m.  Diameter  .194  m. 

123.  Shallow  Dish.  Recurved  sides  with  small  copper 
rim.  Fine  gray-toned  paste,  showing  lotus  blossoms 
delicately  incised  under  the  cool  rice-toned  white  glaze. 
Fen  Ting  yao. 

Yiian  Dynasty.  Height  .047  m.  Diameter  .213  m. 

124.  Vase.  Graceful  baluster  shape.  Fine  buff-toned 
paste,  uniformly  invested  with  a soft  cream-toned  white 
glaze  of  the  later  Fen  Ting  yao  type. 

Yiian-Ming.  Height  .181  m.  Diameter  .078  m. 

125.  Large  Plate.  Deep  shape  with  brass  rim.  Fine- 
textured  paste.  The  interior  panel  sustains  slightly  raised 
symbolical  flowers  and  a pair  of  carp;  border  shows 
aquatic  blossoms  and  foliage  with  a narrow  three-strand 
braid’’  pattern  band;  the  whole  design  beautifully  rendered 
in  relief  under  a pellucid  rice-toned  white  glaze.  Pai 
Ting  yao. 

Yiian-Ming.  Height  .061  m.  Diameter  .303  m. 

126.  Large  Plaque.  Similar  to  the  preceding,  but  grayer 
in  tone.  Pai  Ting  yao. 

Yiian-Ming.  Height  .061  m.  Diameter  .305  m. 

127.  Shallow  Dish.  Scalloped  rim  with  metal  band. 
Fine  buff-toned  paste  showing  central  panel  with  lotus  - 
blossom  in  delicate  relief  under  the  pellucid  ‘‘  rice-white” 
glaze.  Ting  yao. 

Yiian  Dynasty.  Height  .045  m.  Diameter  .208  m. 

128.  Large  Bowl.  Conical  shape,  with  copper  rim. 
Fine-textured  paste,  the  exterior  showing  seven  tool  lines. 
The  interior  embodies  a radial  sextuple  form  of  panels 
with  conventional  floral  sprays,  delicately  modeled  under 
the  pellucid  rice-toned  white”  glaze.  Fen  Ting  yao. 

Yiian  Dynasty.  Height  .079  m.  Diameter  .218  m. 


DESCRIPTIVE  LIST 


6l 


129.  Vase.  Cylindrical  form.  Dense  gray-toned  biscuit, 
invested  with  a deep  creamy-white  glaze  which  shows  a 
variegated  form  of  crackle.  T’u  Ting  tz’u. 

Ming  Dynasty.  Height  .237  m.  Diameter  .088  m. 

130.  Small  Jar.  Oviform  with  handles.  Fine-textured 
semi-kaolinic  paste  invested  in  rice-toned’’  white  glaze 
of  brilliant  quality,  with  crackle. 

Yuan  Dynasty.  Height  .086  m.  Diameter  .114  m. 

13 1.  Bowl.  Conical  shape  with  metal  rim.  Fine-tex- 
tured paste,  the  interior  embodying  delicately  incised 
aquatic  plants  and  blossoms  in  slight  relief  under  the  soft 
creamy-white  glaze.  Fen  Ting  yao. 

Yiian  Dynasty.  Height  .077  m.  Diameter  .202  m. 

132.  Small  Vase.  Ovoid  shape  with  small  neck.  Fine 
brown-toned  biscuit  glazed  in  soft  cream-toned  white 
with  crackle  in  two  distinct  forms.  Ting  tz’u. 

Ming  Dynasty.  Height  .112  m.  Diameter  .071  m. 

133.  Brush  Jar.  Pi  t’ung.  Barrel-shaped  with  ribbed 
sides.  Buff-toned  paste  coated  in  deep  ivory-toned  glaze, 
finely  crackled.  T’u  Ting  yao. 

Yiian-Ming.  Height  .16  m.  Diameter  .091  m. 

134.  Bottle.  Gourd  shape.  Fine  brown-toned  biscuit, 
coated  in  grayish-white  glazing  of  iridescent  quality,  em- 
bued  with  fine  ‘‘po-sui,”  blue  and  brown  crackle  texture. 
K’ang-hsi  period. 

Ch’ing  Dynasty.  Height  .117  m.  Diameter  .104  m. 

135.  Small  Vase.  Oviform.  Pale  buff-toned  paste,  em- 
bodying incised  embellishments  in  foliated  panel  forms 
(blossoms  and  diaper  patterns)  under  the  soft  cream-toned 
white  glaze.  T’u  Ting  yao. 

Yiian-Ming.  Height  .104  m.  Diameter  .055  m. 

136.  Small  Dish.  Fine-textured  paste  with  delicately 
modeled  floral  designs  under  a pellucid  white-rice  tint 
glazing.  Fen  Ting  yao. 

Sung  Dynasty.  Height  .015  m.  Diameter  .098. 


62 


CHINESE  POTTERY 


137.  Tripod.  Globular  (ancient  bronze  vessel)  form. 
Dense  buff  biscuit  coated  in  soft  ivory-toned  white  glaze. 
The  interior  is  unglazed.  T’u  Ting  tz’u. 

Sung-Yiian.  Height  .111  m.  Diameter  .186  m. 

138.  Bowl.  Slightly  recurved  sides  with  metal  rim. 
Fine-textured  kaolinic  paste,  showing  both  interior  and 
exterior  coated  in  soft  greenish-toned  white.  Te-hua 
yao. 

Yiian-Ming.  Height  .073  m.  Diameter  .171  m. 

139.  Small  Ewer.  Pear-shaped  body,  with  handle  and 
short  spout.  Buff-toned  biscuit,  coated  in  soft  pellucid 
rice-toned  glaze.  Fen  Ting  yao. 

Sung-Yiian.  Height  .162  m.  Diameter  .097  m. 

140.  Bowl.  Conical  shape  with  metal  rim.  Fine-tex- 
tured  paste,  interior  embodying  slightly  raised  symbolic 
embellishment,  i.  e.,  a lotus  blossom  and  a pair  of  fish 
(fu)  under  the  subtle  ivory-white  glaze,  showing  a soft 
red-tinged  crackle.  Fen  Ting  yao. 

Yiian  Dynasty.  Height  .089  m.  Diameter  ,194  m. 

141.  Bowl.  Graceful  curved  sides  with  silver  rim.  Fine 
hard-textured  paste,  showing  a delicately  modeled  design, 
i.  <?.,  the  outer  surface  is  finished  by  fluting  resembling 
the  calyx  of  a lotus,  and  the  interior  shows  floral  motives. 
Coated  uniformly  with  a lustrous  blue-tinged  white  glaze. 
Ting  yao. 

Sung-Yiian.  Height  .07  m.  Diameter  .191  m. 

142.  Large  Vase.  Grayish  buff-toned  biscuit,  showing 
slightly  raised  lotus  blossoms,  stems,  and  foliage,  which 
encircle  the  body  under  a monochrome  rice-toned  white 
glaze.  Kuang-yao. 

Yiian  Dynasty.  Height  .280  m.  Diameter  .169  m. 

143.  Jar.  Ovoid  shape,  rudimentary  flower  and  ring 
handles.  Dense  kaolinic  paste  coated  in  soft  white  glaze 
of  the  ivory  tint  variety.  Fen  Ting  yao. 

Sung-Yiian.  Height  .197  m.  Diameter  .145  m. 


DESCRIPTIVE  LIST 


63 


144.  Bowl.  Narrow  base  with  flanged  septangular  rim 
with  design  in  low  relief.  Dense  semi-kaolinic  paste, 
inner  and  outer  surface  coated  in  rice-toned  white.  T’u 
Ting  yao. 

Sung-Yiian.  Height  .063  m.  Diameter  .162  m. 

145.  Small  Jar.  Ovoid  shape,  with  silver  cover.  Buff- 
toned  biscuit,  covered  in  warm  ivory-white  glaze,  with 
surface  of  fine  crackle. 

Yiian  Dynasty.  Height  .145  m.  Diameter  .144  m. 

146.  Large  Bottle.  Biberon  shape.  Dense  buff-toned 
biscuit,  showing  slightly  raised  vines  in  waved  form, 
involving  peony  blossoms  and  foliage,  glazed  in  pearly- 
toned  white  showing  a pale  greenish  gray  shade  near 
the  base.  Kuang-yao. 

Yiian  Dynasty.  Height  .337  m.  Diameter  .235  m. 

147.  Large  Bottle.  Similar  to  the  preceding  showing 
the  lotus  flower  motive,  stems  and  foliage,  under  a pale 

moon-white”  glaze,  merging  into  purplish  gray. 

Yiian  Dynasty.  Height  .283  m.  Diameter  .173  m. 

148.  Bottle.  Tall  ovoid  form  with  small  neck.  Dark 
brown  biscuit,  coated  in  deep  ivory-toned  glaze  with 
slightly-mottled  texture  and  crackle.  T’u  Ting  yao. 

Yiian  Dynasty.  Height  .317  m.  Diameter  .170  m. 

149.  Tall  Vase  (known  as  the  “ Ostrich  Egg  Vase”). 
Graceful  ovoid  with  contracted  neck.  Fine  buff-toned 
biscuit  showing  a slightly  raised  archaic  dragon  border 
that  encircles  the  middle  of  the  body;  on  the  shoulder  is 
a row  of  protuberant  bosses.  The  remaining  surface 
presents  a shagreened  texture,  with  lustreless  creamy- 
white  glaze  that  resembles  the  shell  of  an  egg.  Fen  Ting 
tz'u. 

Sung-Yiian.  Height  .461  m.  Diameter  .247  m. 

150.  Tall  Bottle.  “Jii  chou”  biscuit  of  dense  buff-brown 
texture,  with  ovoid  body  showing  a serrated  band  at  the 


64 


CHINESE  POTTERY 


shoulder,  and  with  a slender  neck  encircled  by  a lizard 
archaic  in  form.  Glazed  in  dark  gray-toned  glaze,  ending 
in  thickening  drops  near  the  base.  Ascribed  to  the 

Early  Sung  Dynasty.  Height  .295  m.  Diameter  .121  m. 

151.  Vase  Quadrilateral  shape,  with  rounded  base  and 
neck.  Massive  bulF-toned  biscuit,  each  of  the  four  sides 
showing  two  foliated  panels  impressed  with  the  mystical 
trigrams  known  as  ‘‘  pa-kwa’’  forming  a series  of  eight 
symbols.  Glazed  in  pale  gray-toned  white  of  opaque 
iridescent  texture  with  crackle.  Kuang-yao. 

Yiian  Dynasty.  Height  .311  m.  Diameter  .121  m. 

152.  Bowl.  White  Ch’ien  yao  with  silver  rim.  Dense 
brown-toned  biscuit  coated  in  heavy  lustrous  white  enamel 
slightly  grayish  in  its  tint ; crackled  inside  and  out,  and  show- 
ing the  brown  biscuit  paste  at  the  base.  Early  Fu-chien. 

Sung  Dynasty.  Height  .067  m.  Diameter  .129  m. 

153.  Hanging  Vase.  Hexagonal  shape  with  handles. 
Buff-toned  biscuit,  coated  in  creamy-toned  white,  each 
side  showing  in  slight  relief  a rampant  dragon  pursuing 
an  effulgent  jewel  of  omnipotence,’’  and  enveloped  in 
flame  forms;  floral  motives  in  alternation.  Fen  Ting  yao. 

Ming  Dynasty.  Height  .317  m.  Width  .187  m.  x .157  m. 

154.  Bottle.  Globular  body  with  slender  neck,  small  ru- 
dimentary handles.  Gray-toned  biscuit,  coated  in  “ rice- 
white”  glaze  of  warm,  tone  with  slight  crackle  and  fine 
texture.  Fen  Ting  yao. 

Yiian  Dynasty.  Height  .207  m.  Diameter  .119  m. 

155.  Large  Vase.  Biberon  shape.  Fine  buff  biscuit, 

glazed  in  warm  rice-toned  white  with  crackle  surface. 
Fen  Ting  yao. 

Yiian  Dynasty.  Height  .337  m.  Diameter  .243  m. 

156.  Large  Vase.  Tall,  oviform.  Dense  buff  biscuit, 
coated  in  deep  old  ivory-toned  white  with  crackle  texture. 

Yiian  Dynasty.  Height  .374  m.  Diameter  .171  m. 


DESCRIPTIVE  LIST 


65 


157.  Large  Vase.  Oviform  with  long  slightly  flaring 
neck.  Buff*-toned  biscuit  glazed  in  deep  rice-toned  white 
slightly  clouded  with  crackle.  Fen  Ting  Fao. 

Yiian  Dynasty.  Height  .383  m.  Diameter  .167  m. 

158.  Large  Vase.  Tall  ovoid  shape,  with  rudimentary 
lion-head  and  ring  handles.  Metal  rim.  Dense  brown  bis- 
cuit, coated  in  warm  rice-toned  white  with  crackle  surface 
of  uniform  texture.  T’u  Ting  Fao. 

Yiian  Dynasty.  Height  .666  m.  Diameter  .288  m. 

159.  Vase.  Oviform,  with  rudimentary  handles.  Dense 
biscuit  with  incised  lotus  designs  and  palm-leaf  borders 
glazed  in  warm  rice-toned  white.  Fen  Ting  yao. 

Yiian  Dynasty.  Height  .368  m.  Diameter  .228  m. 

160.  Small  Shallow  Dish.  Scalloped  rim,  mounted  with 
brass.  Grayish-white  paste  showing  a fungus  motive 
(symbol  of  longevity)  in  slight  relief,  and  coated  in 
creamy  white  glaze  of  the  Fen  Ting  variety. 

Yiian  Dynasty.  Height  .041  m.  Diameter  .150  m. 

161.  Small  Dish.  Flat  shape.  Massive  brown-toned  bis- 
cuit coated  in  heavy  grayish-celadon  glaze  with  brown 
crackle  and  unctuous  texture. 

Yiian  Dynasty.  Height  .019  m.  Diameter  .124  m. 

162.  Dish.  Dense  brown  biscuit,  coated  in  grayish-toned 
celadon  glaze,  stained  with  oil  and  thick  on  the  under 
side. 

Yiian  Dynasty.  Height  .035  m.  Diameter  .156  m. 

163.  Plate.  With  metal  rim.  Dense  brown  biscuit  of 
ferruginous  texture  invested  with  white  crackled  glaze 
with  pale  greenish  clouding. 

Yiian  Dynasty.  Height  .038  m.  Diameter  .172  m. 

164.  Bowl.  Dark  brown  biscuit,  coated  in  dark  gray 
glaze  with  sombre  clouding.  Yuan  yao. 

Yuan  Dynasty.  Height  .048  m.  Diameter  .122  m. 

5 


66 


CHINESE  POTTERY 


165.  Jar.  Melon-shaped  with  short  neck.  BufF-toned 
biscuit  with  ribbed  sides.  Coated  in  opaque  gray  and 
bulF-toned  glaze,  showing  souffle  flecking. 

Ming  Dynasty.  Height  .197  m.  Diameter  .186  m. 

165  (a).  Bowl.  Wide  shallow  form,  with  slightly  escal- 
oped  rim  and  small  base.  Fine  translucent  kaolinic  paste 
thinly  glazed  in  white;  the  decoration  in  white  under  the 
glaze  consists  of  conventional  phoenix  birds  (feng-huang), 
and  is  visible  under  a strong  light  only.  The  foot  bears  a 
mark  of  the  Yung-lo  period  (A.  D.  1403-1424). 

Ming  Dynasty.  Height  .062  m.  Diameter  .197  m. 

165  (b).  Small  Vase.  Bottle  shaped.  White  kaolinic 
paste,  decorated  at  the  base  of  the  neck  with  a dragon 
modeled  by  hand  and  in  high  relief,  and  uniformly  covered 
with  the  white  glaze  known  as  the  “mutton  fat’’  variety. 

Ming-Ch’ing.  Height  .233  m.  Diameter  .092  m. 

165  (c).  Bowl.  Wide  shape,  with  brass  rim.  White  egg- 
shell paste  of  pure  kaolinic  texture,  showing  in  relief  the 
fabulous  bird,  feng-huang,  and  cloud  forms  under  a 
brilliant  white  glaze.  Repaired  with  lacquer.  Yung-lo 
period. 

Ming  Dynasty.  Height  .072  m.  Diameter  .235  m. 

Early  Glazed  Pottery 

The  small  group  of  the  most  ancient  types  of  glazed  pottery 
extant  is  generally  ascribed,  with  others  of  its  class,  to 
the  remote  dynasties  of  the  Han  (B.  C.  206-A.  D.  220). 
Unearthed  in  northern  provinces  of  China  within  recent 
years,^  they  have  been  identified  by  native  experts,  with 
the  help  of  early  ceramic  records,  or  by  the  marks  with  which 
some  are  inscribed.  Moreover  a series  of  sepulchral  bas- 
reliefs  were  exhumed  in  the  province  of  Shan-tung,  during 

^ In  ancient  periods  it  appears  that  similar  vases  and  tripods  were  made 
in  bronze  for  ceremonial  uses  among  the  higher  classes,  and  others  in  cheaper 
material  served  for  mortuary  purposes. 


DESCRIPTIVE  LIST 


67 

the  seventeenth  century,  which  show  similar  characteristics 
in  their  details.^  While  there  are  no  contemporary  data 
concerning  these  carved  slabs,  the  incised  grafitti  of  some 
early  pilgrims  to  the  tombs  confirm  their  attribution  by 
Chinese  archaeologists  to  a period  near  the  close  of  the 
Western  Han  dynasty,  that  is,  to  the  first  century  before  our 
era. 

The  relief  ornamentation  as  shown  on  the  known  ex- 
amples of  early  glazed  pottery  consists  mainly  of  bands 
molded  into  the  body  of  the  vessels,  and  usually  involves 
mountain  views,  or  mythological  figures  riding  on  dragons 
and  with  bows  pursuing  tigers.  Sometimes  the  bands  are 
otherwise  filled  in  with  archaic  or  grotesque  detail.  The 
glazing  approaches  in  color  the  green  shade  of  cucumber 
rind  and  malachite,  when  not  wholly  exfoliated  or  coated 
with  a strong  silvery  iridescence  from  age  and  long  burial. 
See  Nos.  168,  170,  and  171.  Several  examples  of  the  T’ang 
dynasty  are  included  in  this  group,  notably  a tripod  glazed 
in  variegated  olive  and  amber  tints,  which  is  very  rare. 
See  No.  166. 

166.  Tripod.  Ancient  globular  shape  with  claw-like  feet. 
Dark-toned  biscuit  coated  in  variegated  amber  tints,  min- 
gled with  brilliant  moss-like  running  green  glaze,  resem- 
bling nephrite  (jade  stone)  in  colors;  with  carved  teak 
stand  and  cover.  Ascribed  to  the 

T’ang  Dynasty.  Height  .128  m.  Diameter  .172  m. 

167.  Vase.  Low  oviform.  Red-toned  biscuit,  coated  in 
polychromatic  colors,  beginning  with  a soft  grayish-black 
glaze  of  opaque  texture  at  the  base,  and  supplemented  by 
a soft  carnelian-red  with  amber  and  olive  flecking,  that 
is  likened  to  the  variations  and  shades  in  the  ancient  jade 
or  soapstone  (nephrite).  Ascribed  to  the 

Later  T’ang  Dynasty.  Height  .205  m.  Diameter  .160  m. 

^ **  La  Sculpture  sur  pierre  en  Chine  du  temps  des  deux  dynasties  Hany" 
by  Prof.  Ed.  Chavannes,  issued  in  Paris,  1893,  under  the  auspices  of  the 
Minister  of  Public  Instruction  and  Fine  Arts. 


68 


CHINESE  POTTERY 


168.  Large  Vase.  Oviform.  Reddish  buff-toned  bis- 
cuit showing  striated  ridges  of  the  wheel  under  the 
mottled  green  ta-lii  glaze,  together  with  silver-gray 
incrustations  and  iridescence. 

Han  Dynasty.  Height  .395  m.  Diameter  .278  m. 

169.  Tripod.  Low  cylindrical  shape,  with  original  peaked 
(or  pyramidal)  cover.  Reddish  buff-toned  biscuit,  the 
body  encircled  by  a molded  band  to  represent  moun- 
tains with  wild  animals  under  a coating  of  vitreous  mala- 
chite-green glaze,  showing  pearly  gray  incrustations. 

Han  Dynasty.  Height  .233  m.  Diameter  .193  m. 

170.  Tripod.  With  original  cover  similar  to  the  preceding. 

Han  Dynasty.  Height  .242  m.  Diameter  .204  m. 

1 71.  Large  Vase.  Oviform.  Dense  reddish-brown  bis- 
cuit, showing  a border  with  archaic  relief  ornamenta- 
tions, involving  mythical  figures  and  animals;  originally 
glazed  in  vitreous  green,  which  is  now  partly  visible 
under  a layer  of  earthy  incrustations  and  film-like  iri- 
descence. 

Han  Dynasty.  Height  .315  m.  Diameter  .233  m. 

172.  Tall  Censer.  Han  ceremonial  vessel  with  cone- 
shaped  cover.  Pale  reddish-buff  biscuit,  glazed  in  emerald- 
toned  green  (“  ta-lii  with  pearly  iridescence  and  incrus- 
tations from  burial.  Ascribed  to  the 

Han  Dynasty.  Height  .203  m.  Diameter  .126  m. 

173.  Large  Vase.  Oviform.  Dense-textured  brown 
paste  with  ornamental  border  composed  of  figures  with 
drawn  bows,  riding  upon  dragons,  and  in  pursuit  of  tigers, 
amid  mountain  ridges;  on  either  side  a grotesque  head 
with  rudimentary  rings,  simulating  handles. 

The  vitreous  green  glaze  is  carried  into  the  interior  of 
the  neck  and  shows  a pearly  incrustation  with  less  ex- 
foliation than  is  usual  on  these  types. 

Han  Dynasty.  Height  .361  m.  Diameter  .301  m. 


DESCRIPTIVE  LIST 


69 


174.  Large  Jar.  Ovoid  shape.  Massive  red-brown 
biscuit,  showing  the  remains  of  former  green  and  brown 
glazing  amid  the  protuberant  particles  of  earth  incrusted 
as  a result  of  a conflagration.  The  pottery  and  form 
are  attributable  to  the 

Han  or  an  early  succeeding  dynasty.  Height  .215  m. 
Diameter  .251  m. 

175.  Jar.  Ovoid  form,  high  base.  Soft,  fine-textured  red 
biscuit  marked  with  five  horizontal  incised  lines,  and 
glazed  in  ivory  white  divided  by  five  vertical  “runs’’  of 
green.  Above  the  base  the  white  ends  abruptly,  a running 
glaze  of  deep  amber  color  taking  its  place.  The  interior 
is  also  glazed  in  amber.  Ascribed  to  the 

T’ang  Dynasty.  Height  .134  m.  Diameter  .151  m. 

175  (a).  Bottle.  Globular  body,  short  flaring  neck. 
Dense  buff-toned  biscuit  showing  wheel  marks  or  hori- 
zontal rings  near  the  shoulder,  and  coated  in  opaque 
“cucumber  rind,”  or  myrtle  green,  glaze.  Provisionally 
attributed  to  the 

Chin  or  to  the  Sui  Dynasty.  Height  .165  m.  Diameter 
.135  m. 


Korean  Pottery 

It  may  be  stated  that  the  “Hermit  Nation”  of  Cho-sen 
(morning  calm)  remained  practically  unknown  to  European 
countries  until  about  the  sixteenth  century.^  So  far  as 
Eastern  records  show,  we  find  the  first  mention  made  of 
Korea  during  the  eighth  century  before  our  era,  when  the 
first  kingdom  was  founded  by  Ki-tzsi  (about  720  B.  C.),  a 
Chinese  nobleman  (Viscount  of  Ki),  who  is  supposed  to 

^ Corea  or  Korea  (English),  or  Coree  (French),  became  known  to 
Europe  largely  through  the  Portuguese,  who  were  the  first  to  navigate  the 
Yellow  Sea.  They  introduced  the  products  of  Korea  and  the  name,  which 
is  derived  from  the  Chinese  kaoli,  or  from  the  early  Japanese  Korai. 


70 


CHINESE  POTTERY 


have  been  a descendant  of  the  famous  Emperor  Wu  Wang  of 
the  Chou  dynasty. 

Ki-tzsi  (Keishi)  is  by  the  common  consent  of  native  and 
Chinese  tradition,  both  the  founder  of  the  Korean  Kingdom 
and  social  order,  and  the  monarch  who  fostered  among  his 
people  the  arts  of  China,  which  included  the  welding  of  clay 
to  produce  pottery.  This  ruler,  who  voluntarily  paid  tribute 
to  the  Emperor  of  China,  was  succeeded  by  a long  line  of 
descendants  who  upheld  his  dynasty  till  somewhere  near  the 
beginning  of  our  era.  After  that,  continued  disorders  dis- 
rupted the  Kingdom,  until  about  1392  A.  D.,  when  Kosei 
Kei,  then  reigning  king,  was  able  again  to  unite  the  several 
states  or  provinces. 

That  so  little  has  been  chronicled  concerning  Korean  art, 
and  especially  pottery,  of  the  earlier  periods,  is  due  to  the 
great  difficulty  in  obtaining  direct  access  to  desirable  native 
data.  Such  information  as  we  now  possess  comes  chiefly 
through  Japanese  and  Chinese  sources,  with  a consequent 
loss  of  very  important  details.  The  older  authors  in  Japan 
generally  admit  that  the  more  ancient  Cho-sen  ceramic 
productions  served  as  models  for  their  native  potters.  It 
appears  that  during  the  latter  part  of  the  seventh  century, 
a Buddhist  priest  and  potter  named  Gyogi  (A.  D.  670- 
749),  together  with  other  Korean  potters  embarked  for 
Japan  where  they  gave  pottery  making  a new  impetus. 
Gyogi  is  credited  with  the  introduction  into  Japan  of  the 
potter’s  wheel  at  this  early  period,  a statement  from  which 
we  can  assume  that  Korea  had  made  some  advance  in  the 
art,  at  or  before  this  epoch. 

As  we  approach  the  fourteenth  century,  we  learn  that 
Korean  potters  had  succeeded  in  earning  a reputation,  espe- 
cially for  their  soft  ivory-white  glazing  which  was  so  much 
appreciated  by  the  Japanese  amateurs,  and  purchased  by 
them  in  considerable  quantities.  Usually  it  is  without  any 
decoration,  although  a few  artists  essayed  some  simple  ideo- 
graphic forms  or  diaper  motives,  at  an  early  period.  See 
Nos.  200  and  201. 


DESCRIPTIVE  LIST 


71 


At  the  close  of  the  sixteenth  century  (about  1592)  we 
come  to  the  Japanese  invasion  of  Korea  ordered  by  the 
famous  Taiko  Hideyoshi,  whose  generals,  on  their  return 
to  Japan,  took  with  them  a number  of  Korean  artisans. 
Among  the  latter  were  potters  who  were  all  settled  in 
Kiushiu,  the  most  southerly  of  the  four  large  islands  of 
the  Japanese  empire.  There  they  continued  the  practice 
of  their  art,  for  a time  producing  their  native  wares  ^ and 
decorating  them  after  the  Korean  fashion  with  overglaze 
painting  in  black  or  brown  (examples  of  which  may  be 
seen  on  Nos.  200  and  201)  or  with  what  the  Japanese  call 
“mishima’’^  (see  Nos.  182,  189,  and  208). 

It  is  noteworthy  that  the  work  of  the  Korean  potter 
Ame-ya  who  had  settled  in  Japan  nearly  a century  earlier 
gave  no  such  stimulus  to  the  art  of  pottery  making  in 
Japan  as  was  contributed  by  the  potters  transplanted  by 
order  of  the  Taiko.  What  the  effect  of  that  transplanting 
was  on  Japanese  ceramics  is  too  well  known  to  need  ex- 
tended comment  here.  The  effect  in  Korea  seems  to  have 
been  that  it  hastened  the  decline  of  the  art.  Thereafter 
the  potters  in  Korea  produced  little  of  artistic  value,  and 
seem  to  have  forgotten  the  very  processes  which  gave  the 
early  Korean  pottery  its  distinction  and  beauty.  The  ar- 
tistic merit  of  Korean  pottery  lies  not  always  in  the  forms, 
but  rather  in  the  mellowness  or  softness  of  the  glazes  with 
which  the  Koreans  covered  their  products  in  clay,  and  in 
the  vigorous  freedom  of  color  which  is  often  heightened  by 
a varying  tonality,  only  equalled  by  the  best  Japanese  pot- 
ters. In  the  present  exhibition  we  may  note  an  unusual 
and  interesting  assembly  of  representative  Korean  types 
that  are  worthy  of  more  than  a passing  notice. 

^ Many  forms  with  the  pale  white  or  grayish-toned  glazing  on  early 
examples  are  analogous  to,  or  identical  with,  Japanese  types  and  therefore  offer 
slight,  if  any,  peculiarities  to  distinguish  them. 

^ Small  incised  patterns  which,  impressed  into  the  paste,  are  filled  in  with 
a clay  of  contrasting  color  (a  brown  or  whitish  tone)  before  glazing. 


72  CHINESE  POTTERY 

176.  Vase.  Oviform.  Massive  buff-toned  biscuit  coated 
in  dark  gray  glaze  with  speckled  souf[le  surface  and  brown- 
ish clouding. 

XVI  century.  Height  .243  m.  Diameter  .153  m. 

177.  Bottle.  Globular  body  with  small  neck.  Korean 
pottery,  dense;  glazed  in  warm  grayish  white,  iridescent, 
slightly  tinged  with  celadon. 

XVI  century.  Height  .195  m.  Diameter  .129  m. 

178.  Bowl.  Massive  form.  Korean  pottery,  dark  buff  tone, 
coated  inside  and  outside  in  creamy  white  glaze  with  buff 
clouding;  repaired  and  ornamented  with  gold  lacquer. 

XVI  century.  Height  .067  m.  Diameter  .168  m. 

179.  Small  Wide-mouthed  Jar.  Globular  shape.  Ko- 
rean pottery  with  shagreened  surface,  coated  in  warm 
grayish  glaze  with  pearly-toned  clouding. 

XVI  century.  Height  .05  m.  Diameter  .093  m. 

180.  Shallow  Mortuary  Bowl.  Korean  pottery;  glazed 
in  thin  celadon. 

XHI  to  XIV  centuries.  Height  .035  m.  Diameter 
.141  m. 

1 8 1.  Vase.  Ovoid  form  with  short  neck.  Dense  Korean 
pottery,  showing  linear  wheel  marks  under  the  pellu- 
cid warm  grayish-toned  glazing,  with  crackled  surface. 
Repaired. 

XV  century.  Height  .198  m.  Diameter  .140  m. 

182.  Vase.  Graceful  ovoid.  Korean  pottery;  “mishima’’ 
embellishment  in  warm  gray;  body  showing  a vitreous 
olive  souffle  glaze. 

XVI  century.  Height  .229  m.  Diameter  .157  m. 

183.  Vase.  Oviform  with  small  neck.  Dense  gray  Korean 
pottery,  showing  grayish-buff  body  color  with  brown  floral 
ornamentation  painted  over  the  glaze  in  panels. 

XIV-XV  centuries.  Height  .191  m.  Diameter  .106  m. 


DESCRIPTIVE  LIST 


73 


184.  Bowl.  Korean  pottery,  grayish  tone;  deep  gray- 
bufF  glazing  with  variations  in  darker  shades;  interior 
shows  two  incised  phoenix  birds  in  archaic  form. 

XIV  century.  Height  .083  m.  Diameter  .204  m. 

185.  Bowl.  Korean  pottery,  grayish  tone,  coated  in 
varied  shades  of  pearly  gray  with  crackle;  interior  merging 
into  grayish-toned  celadon  clouding. 

XIV  to  XV  centuries.  Height  .084  m.  Diameter 
.160  m. 

186.  Large  Vase.  Broad  amphora  shape  with  four 
handles.  Dense  Korean  pottery,  covered  in  soft  gray- 
toned  celadon  showing  variations  of  lighter  opaque  tones ; 
rare  unctuous  quality  with  crackle. 

XIV  century.  Height  .327  m.  Diameter  .242  m. 

187.  Shallow  Bowl.  Flaring  rim.  Korean  pottery; 
buff-toned  biscuit;  inner  and  outer  surface  coated  in  soft 
creamy  white,  showing  spots  of  moss-green  near  the  rim. 

XIV  century.  Height  .054  m.  Diameter  .191  m. 

188.  Shallow  Mortuary  Dish.  Korean  pottery,  inner 
and  outer  surface  coated  in  chocolate-toned  glaze. 

XHI  to  XIV  centuries.  Height  .027  m.  Diameter 
.139  m. 

189.  Vase.  Oviform  with  ring  handles.  Korean  pottery, 
dense  brown  biscuit  with  superposed  heavy  flowing  gray 
glaze,  showing  brownish  tint  near  base  with  incised 
“mishima’’  border. 

XV  century.  Height  .257  m.  Diameter  .114  m. 

190.  Vase.  Ovoid  shape.  Massive  brown  biscuit  with 
engraved  scroll  motives,  showing  exfoliating  glaze  in  varie- 
gated brown  and  fiambe  tones. 

XII  century.  Height  .230  m.  Diameter  .163  m. 

1 91.  Bowl.  With  small  vertical  “ flanges.  Korean 

pottery;  exterior  and  interior  showing  engraved  foliage 


74 


CHINESE  POTTERY 


design  under  the  mottled  grayish-bulF  glaze,  which  is 
altered  by  fire. 

XII  to  XV  centuries.  Height  .109  m.  Diameter  .225  m. 

192.  Shallow  Mortuary  Dish.  Korean  pottery;  outer 
and  inner  surface  glazed  in  pale  celadon  with  gray-toned 
variation. 

XIII  or  XIV  centuries.  Height  .045  m.  Diameter 

•135  ni. 

193.  Bowl.  Fine  form.  Dark  gray  biscuit;  interior  panel 
bears  lotus  flower  incised;  exterior  with  slightly  raised 
palmation;  glazed  in  olive-toned  celadon. 

XV  century.  Height  .069  m.  Diameter  .161  m. 

194.  Bowl.  Korean  pottery;  exterior  showing  incised 

fluting  in  helianthe  form;  the  interior  sustains  an  en- 
graved scroll  motive,  glazed  in  brown  (Jeuille  morte). 

XV  century.  Height  .079  m.  Diameter  .169  m. 

195.  Bowl.  Shape  irregular.  Korean  pottery  showing 

exterior  in  dark  olive-brown  glaze,  with  mottling  and 
crackle,  merging  into  celadon  on  the  inside. 

XV  century.  Height  .088  m.  Diameter  .195  m.  x 
.210  m. 

196.  Bowl.  Korean  pottery;  dense  brown  biscuit;  in- 

terior and  exterior  showing  engraved  bands  in  transverse 
and  diaper  form  mishima  ’’  method)  under  a dark 
creamy  glaze,  with  gray  shading;  slightly  repaired  with 
gold  lacquer. 

XIV  century.  Height  .081  m.  Diameter  .188  m. 

197.  Jar.  Globular  shape,  incised  lines  on  shoulder. 

Korean  pottery  covered  with  pearly  gray  glaze  of  fine 
texture,  showing  slight  variation  of  tone. 

XV  century.  Height  .194  m.  Diameter  .196  m. 

198.  Jar.  Oviform  with  small  handles.  Korean  pottery. 
Red-toned  biscuit  of  ferruginous  texture  with  helianthe 


DESCRIPTIVE  LIST  75 

fluting  and  incised  bands  glazed  in  pale  celadon  of  soft 
texture,  with  crackle. 

XV  century.  Height  .159  m.  Diameter  .182  m. 

199.  Jar.  Globular  shape  with  four  small  handles. 
Korean  pottery.  Buff-toned  biscuit  glazed  in  variegated 
tones  of  brown  showing  exfoliation. 

XII  to  XIV  centuries.  Height  .161  m.  Diameter  .184  m. 

200.  Large  Jar.  Ovoid  shape.  Korean  pottery  coated  in 
old  ivory-toned  glaze  with  clouding  in  deeper  shades  and 
simple  ideographic  scroll  painting  in  brown  over  the  glaze. 

XIV  century.  Height  .357  m.  Diameter  .313  m. 

201.  Large  Jar.  Globular  shape.  Korean  pottery; 

dense  brown- textured  biscuit  glazed  in  soft  ivory-white 
and  decorated  with  a pair  of  phoenix  birds  (feng-huang) 
in  brown,  with  floral  and  other  bands  in  brown. 

XV  century.  Height  .356  m.  Diameter  .396  m. 

202.  Large  White  Jar.  Oviform.  Korean  pottery; 

dense  brown-textured  biscuit  showing  wheel  marks  under 
the  slightly  green-tinged  white  thick  glaze. 

XVI  century.  Height  .394  m.  Diameter  .446  m. 

203.  Shallow  Bowl.  Compressed  oval  shape.  Korean 
pottery;  grayish-white  biscuit  coated  in  warm  grayish- 
white  glaze  of  even  quality. 

XVII  century.  Height  .076  m.  Diameter  .169  m.  X 
.118  m. 

204.  Bowl.  Korean  pottery;  buff-textured  biscuit  coated 
inside  and  outside  alike  in  ivory-toned  glaze  with  mottling; 
shows  gold  lacquer  mending. 

XHI  to  XIV  centuries.  Height  .073  m.  Diameter  .175  m. 

205.  Bottle.  Korean  pottery;  dense-textured  biscuit; 
running  gray  glaze  with  purplish  souffle  cloudings  and  dark 
crackled  surface.  Silver  rim. 

XVI  century.  Height  .149  m.  Diameter  .088  m. 


76 


CHINESE  POTTERY 


206.  Bowl.  Korean  pottery.  BufF-toned  biscuit  show- 
ing potter’s  wheel  marks  under  the  gray-colored,  deli- 
cately varied  glaze. 

XVII  century.  Height  .062  m.  Diameter  .156  m. 

207.  Shallow  Bowl.  Korean  pottery.  Dense,  brown- 
toned  biscuit  glazed  in  pale  yellowish  russet,  and  showing 
spur  marks  on  the  inside. 

XVII  century.  Height  .05  m.  Diameter  .137  m. 

208.  Bowl.  Slightly  irregular  shape.  Korean  pottery; 
hard,  grayish-bufF  paste,  decorated  in  the  ‘‘mishima” 
method  with  sprays  oF  Fruit  and  conventional  bands,  and 
glazed  in  a vitreous,  cool  greenish  gray. 

XV  century.  Height  .094  m.  Diameter  .190  m.  X 
.201  m. 

209.  Bottle.  Biberon  shape,  with  ridge  at  the  neck. 
Korean  pottery;  hard  stone-gray  paste,  showing  hori- 
zontal tool  marks,  and  glazed  in  thin,  clear  green  over 
yellowish  white.  Finely  crackled. 

XV  century.  Height  .25  m.  Diameter  .17  m. 

210.  Small  Bowl.  Sides  slightly  recurved.  Korean 
pottery;  fine-textured  hard  paste,  the  interior  decorated 
in  low  relieF  with  flower  motives  in  panels,  and  the  whole 
glazed  with  a thin,  clear  celadon,  showing  iron  color  in 
spots  and  at  the  Foot  and  the  rim. 

XVII  century.  Height  .048  m.  Diameter  .112  m. 

21 1.  Bottle.  Silver-mounted  top.  Korean  pottery  coated 
in  chocolate-toned  glaze  with  slight  variations  and  simple 
ideographic  black  scroll  decoration. 

XVI  century.  Height  .18  m.  Diameter  .116  m. 

212.  Cup.  Tazza  shape.  Korean  pottery  coated  in  olive- 
toned  celadon  with  mishima  ” decoration  in  the  Form  of 
blossoms  and  borders. 

XVI  century.  Height  .057  m.  Diameter  .079  m. 


INDEX 


INDEX 


A 

Amfi-ya,  71 

Ancient  Book  of  History,  3 
Antiquities,  Early  collection  of,  4 
“Apple  green,”  31 

B 

Blanc  de  Chine,  28  note  i,  58 

Blue  and  white  porcelain,  Advent  of,  29 

Boccaro,  30 

Bowls  of  pottery  supplant  glass  for  tea,  10 
C 

Cambuluc,  24 
Celadon,  The  earliest,  8 
Celadon,  General  account  of,  53 
Ceramic  art.  Culmination  of,  in  China,  31 
Ceramic  art.  Earliest  examples  of,  in  China,  5 
Ceramic  art.  Historical  beginning  of,  in 
China,  5 
Ch’ai-yao,  13 

Ch’ai-yao,  Possible  reproduction  of,  20 

Ch’ang-nan,  Kilns  at,  8,  9 

Chang  Sheng-erh,  18 

Chang  Sing-i,  17 

Chang-te,  Department  of,  15 

Chang-yao,  17,  18 

Cheh-kiang,  Pottery  produced  in  the  pro- 
vince of,  7,  9,  n,  17,  18,  23 
Chen-chou,  Kilns  at,  1 1 
Cheng-ho,  Emperor,  12 
Ch’eng-hua,  Emperor,  29 
Cheng-tS,  Emperor,  29 
Chia-yii-ki,  8 
Ch’ieh-tz’u,  15,  21 
Ch’ien-lung,  Emperor,  31,  32 
Ch’ien  tz’u,  28  note  i 
Ch’ien-yang-fu,  Kilns  at,  10,  19 


Ch’ien  yao,  19,  28  note  1 
Chihli,  Pottery  produced  in  the  province 
of,  9,  II,  12,  15,  19,  21 
Chin  dynasties.  Western  and  Eastern,  7 
Ch’in  dynasty,  5 
Ch’ing  dynasty,  30 
Ching-te-chen,  8 note  2 
Ching-te-ch^,  Imperial  factories  at,  24,  28, 

Ch’ing-tz’u,  8,  16,  18,  24 
Ch’ing-tz’u,  General  account  of  {see  Celadon), 
53 

Ching-yang,  ii 
Cho-sen,  69 
Chou  dynasty,  4 
Chou  dynasty.  Posterior,  13 
Chou  dynasty.  Legendary  product  of  Pos- 
terior, 13 

Ch’ou-chan,  Mount,  28 

Chronological  Summary  of  Dynasties,  35 

Ch’ii-chou-fu,  Product  of,  18,  28 

Chiin-chou,  Product  of,  15 

Chiin  yao,  15 

Chu-ong  {see  Shu  Hung) 

Chu  Sui,  12 
Chu  yao,  12 

Clair  de  lune,  14,  15,  17,  25 
Concentration  of  pottery  manufacture,  28 
Confucius,  3,  4 

Confusion  of  records  in  Sung  dynasty,  14 
Crackle  colored  by  vermilion,  16 


D 

Date  marks  of  Ming  dynasty,  28 
Dates  of  reigns,  how  reckoned,  30  note  2 
Descriptive  List,  37 
Durgan,  Regent,  30 

Dynastic  name  differs  from  title  of  reign,  30 


8o 


INDEX 


E 

Early  glazed  pottery,  66 
Earthenware,  33 

Embellishment,  Earliest  colored,  16 
F 

Factories  of  Wei  dynasty,  6 

Faience,  33 

F am  tile  rose,  32 

F am  tile  verte,  31 

Fei-ffing,  22 

Fei-ts’ui,  8,  15 

Ffin-ch’ing,  9,  17 

Feng-huang-shou,  17  note 

F^n  Ting  yao,  21,  58 

“Five  colored  ” decoration,  29 

Flambe,  Earliest,  21 

Flambe,  Explanation  of,  25  note 

Foreign  influence.  Beginning  of,  32 

Fou-liang,  8,  28,  29 

Fu-kien,  Province  of,  10 

G 

Green  opaque  glass.  Imitation  of,  8 
Gyogi,  70 

H 

Han  dynasty,  5 

Han  pottery,  5,  67 

Hang-chou,  Product  of,  23 

Hang-chou-fu,  Product  of,  16 

Hard  paste  pottery,  33 

Hare’s  fur  ware,  19 

“Hidden  color  ware  ’’  (5ee  Pi-seh-yao) 

Hideyoshi,  71 

Hing  yao,  1 1 

Historical  Sketch,  3 

Ho  Chou,  8 

Ho-chou,  Product  of,  25 
Ho  Chung-ch’u,  9 
Ho  Kuei-lin  (see  Ho  Chou) 

Honan,  Province  of,  6,  14,  15,  16,  20 
Ho-yao  (made  by  Ho  Chou),  9 
Ho-yao  (from  Ho-chou),  25,  26 
Hsia  dynasty,  4 
Hsi-an  fu,  4 

Hsiang  Tzu-ching,  23  note  2,  26 


Hsian  Ting  yao,  22 
Hsian  Yuan-p’ien,  23  note  2 
Hs’in  p’ing,  Imperial  kilns  at,  12 
Hsiian-te,  Emperor,  29 
Hsuan-ts’ao,  22 
Hs’ung-chou,  Product  of,  9 
Hs’ung-yao,  9 
Hua,  22 

Huang-ti,  Emperor,  3 
Hui-s§,  21 

Hui  T’sung,  Emperor,  12,  13  note  2 
Hung-wu,  28 

Hu-t’ien-shi,  Product  of,  27 
Hu-t’ien-yao,  27 


I 

Imitation  of  older  wares,  32 
Imitation  of  substances  not  pottery  or  por- 
celain, 32 

Independent  potters  in  Ming  dynasty,  29 
Iron-colored  foot  and  rim  (icc  also  Tzu-k’ou- 
tich-tsu),  17,  24 


J 

Jii-chou,  Kilns  at,  20 
Jung-yao,  23 
Jii-yao,  20 

K 

K’ai-fSng-fu  potteries.  Abandonment  of,  16 

K’ai-feng-fu,  Prefecture  of,  22,  23,  24 

K’ang-hsi,  Emperor,  31 

Kaolin,  33  note,  34 

Kao-Tsu,  9 

Keishi  (see  Ki-tzsi) 

Kiang-nan,  District  of,  ii,  25,  31 
Kiang-nan,  Kilns  at,  22,  26 
Kiang-si,  Kiln  at,  9 

Kiang-si,  Province  of,  ii,  20,  22,  28,  31 

Kiang-su  province,  30 

Ki-chou,  Kilns  at,  20 

Ki-chou  yao,  20 

Ki-tzsi,  69,  70 

Kiushiu,  71 

Kochi-yaki,  23  note  i 


INDEX 


8l 


Ko-ku-yao-lan,  12 

Korean  pottery,  General  sketch  of,  69 
Kosei  Kei,  70 
Ko-yao,  17 

Kuang-p’ing,  Department  of,  15 
Kuang  Tung,  Kilns  at, 

Kuang  Tung,  Province  of,  27 
Kuang-yao,  27 
Kiian  yao,  16 

Kiian  yao,  Distinction  between  early  and 
late  types  of,  55 

Kiian  yao.  Extension  of  term,  17 
Kiian  yao,  Reproduction  of,  17 
Kublai  Khan,  24 
Kung-chou,  Department  of,  10 
Kung  Ch’un,  30 
Kung-chiio-lii,  15 

L 

Lang  T’ing-tso,  Viceroy,  31 
Lang-yao,  31 

Lime  in  Fen  Ting  glaze,  21  note 
Liu-li,  8 

Liu-ling  hien,  20 
Liu-li  wa,  34 
Liu-t’ien,  Kiln  at,  17,  18 
Li  Yuan,  General,  8 
Lou-tzu,  7,  8 
Lo-yang,  Kiln  at,  6 
Lu  Lang-yao,  31 
Lung-ch’iian  district,  17 
Lung-ch’iian-hsien,  18 
Lung-ch’iian  yao,  18,  28,  54 
Lu-tzu,  8,  9 

M 

Mandarin  ware,  25 
Martibani,  18,  53 
Mei-tse-sing,  15 
Mencius,  3 
Ming  dynasty,  28 

Ming  products.  Characteristics  of,  29 
Mi-s6,  15,  18 
Mishima,  71 
Mohammedan  blue,  29 
Mongolian  dynasty,  24 
Mo-Ting,  II 


N 

Nan-chiang,  25 
Nan  Ting  yao,  21 

O 

“OfEcial  ware  ” (jee  Kiian  yao) 

Ou,  30  note  I 

Ou-t’ien-yao  {see  Hu-t’ien-yao) 
Ou-yin-tao-j6n,  29 

P 

Pai-chi-sui,  17 
Pai  Ting  yao,  ii,  12,  21 
Pai-tu  chin.  Kiln  at,  22 
“■Partridge  bowls,”  20 

Paste,  Varieties  of,  used  in  reproductions,  26 

“Peach  red,”  31 

Peking,  5,  24 

P’tog  Chiin-pao  kiln,  26 

P’eng  yao,  26 

Pe’tun,  33  note  i,  34 

Pe’tun-tse,  33  note  i 

Phoenix  Hill,  17  note 

P’ien-chou,  Product  of,  14,  23 

P’ien-Liang-chou,  Kilns  at,  13,  16 

Pi-seh-yao,  ii 

Polychrome  decoration,  29 

Porcelain,  33 

Potter’s  wheel.  Antiquity  of,  3 
Pottery,  33,  34 
Pottery,  Early  glazed,  66 
Pottery,  Hard  paste,  33 
Pottery,  Korean,  69 

Pottery,  Uses  of,  before  the  T’ang  dy- 
nasty, 13 

R 

Rice  color,  18 

S 

Sacrificial  vessels  of  pottery.  Early  record  of 
order  for,  12 
Sang  de  boeuf,  31 
San-ts’ai,  29 
Semi-porcelain,  33 
“Seven  colors,”  31 


6 


82 


INDEX 


Shang  dynasty,  4 

Shao-hsing-fu,  9 

Shensi  province,  4,  5 note,  7,  ii 

Shen-yao,  10 

Shih-sung,  Emperor,  13 

Shih  Tsu,  24 

Shih  Tsu  Chang,  30 

Shou  yao,  10 

Shu  Chiao,  21 

Shu-ch’ing,  3 

Shu-fu  yao,  25 

Shu  Hung,  21 

Shu-king  (see  Shu-ch’ing) 

Shun,  Emperor,  4,  5 
Shun  Chih,  Emperor,  30 
Si-an-fu,  Kiln  at,  6 
Southern  Sung,  Ware  of  the,  17 
Ssu-chou,  Kiln  at,  22,  25 
Ssuchuan,  Province  of,  lo 
Stoneware,  33 
Sui  dynasty,  7 

Su-ma-ni  (see  Mohammedan  blue) 
Sun-dried  vessels.  Antiquity  of,  4 
Sung  dynasty,  14 
Sung  ware,  Paste  of  early,  12 
Sung  and  Yiian  pottery.  White,  58 

T 

Ta’i,  Product  of,  10 
Taiko  Hideyoshi,  71 
Tai  Tsu,  Emperor,  15 
Ta’i  yao,  10 
Tai-yi-hsiang-wu,  30 
Ta-lii,  9,  17 
Ta  Ming,  28 
T’ang  dynasty,  8 
T’ang  ware.  Paste  of,  12 
T’ao,  34 
Tao-lu,  19,  25 
Ta’o  Yu,  8 

Tea  bowls,  Early  mention  of,  7 
Te-hua,  Kilns  at,  28,  58 
Terminology,  33 
Temmoku,  12,  20  note  i 
Ting-Chou,  Early  product  of,  ii 
Ting-Chou,  Potteries  at,  11 
Ting  yao  (T’ang  dynasty),  1 1 
Ting  yao.  Reproduction  of,  16 


Ting  yao  (Sung  and  Yiian  dynasties), 
16,  21,  22,  23,  26 
“Three  colored  ’’  decoration,  29 
Ts’ang  Ying-hsuan,  31 
Ts’ien-ching,  17 

Ts’in  dynasty  (see  Ch’in  d]masty) 

Ts’in  yao,  9 
Ts’ung-ch’ing,  54 
Ts’ung-lu,  15,  17 
T’u-hao  yao,  19 
Tung-ng6u  t’ao,  7 
T’u  Ting  yao,  21,  22,  58 
Tz'u,  33,  34 

Tz’ii-chou,  Product  of,  15 
Tz’ii-chou  yao,  15 
Tzu-k’ou-tich-tsu,  17  note  1 


U 

U-ni  yao,  10 

V 

“ Vases  of  artificial  jade,’’  8 


W 

Wa,  34 

Wan-li,  Emperor,  29 

Wei  dynasty,  6 

Wen-chou-fu,  Product  of,  7 

Wen  Ti,  Emperor,  7 

White  Sung  and  Yiian  pottery,  58 

Wu  ming  yi,  29  note 

Wu  T’ai,  the  Five  Posterior  dynasties,  13 

Wu  Ti,  3 

Wu  ts’ai,  29 

Wu  Wang,  Emperor,  5,  70 


Y 

Yan  Chien,  General,  7 
Yang-Ch’ing,  Product  of,  27 
Yang  Ti,  Emperor,  8 
Yao,  33 

Yao,  Emperor,  4 
Yao-pien,  15,  27 
Yi-hsing,  Product  of,  30 


INDEX 


83 


Yi-hsing  yao,  29 
Yii,  Emperor,  4 

Yiian  and  Sung  pottery,  White,  58 

Yiian  dynasty,  24 

Yiian  Ting  yao,  26,  58 

Yiian  tz’u,  24 

Yiian  yao,  24 

Yii-ch’ing  t’ao,  54 


Yii-chou,  Product  of,  22 
Yiieh-chou,  Kilns  at,  9,  ii 
Yueh-pai,  15,  17,  25 
Yii  eh  yao,  9,  ii 
Yung-ch’eng,  Emperor,  31 
Yung-lo,  Reign  of,  29 
Yii-tz’ii,  17 
Yii-yao,  13  note  2 


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